He was one of nature's musicians, and confined himself to what genius can conceive and execute, without the intervention of much science the composition of melodies: and, after all, melody is the true test of musical genius; no composition, however philosophical, learned and elaborate, can live, if it wants its divine inspiration, and the science of Handel, Haydn, and Mozart would not
have rescued their names from oblivion, had the soul of melody not sparkled
like a gem through all the cunning framework and arrangement of their noble
compositions. He composed a great number of tunes, nearly a hundred of
which are to be found in the collections published by his son Nathaniel at
Edinburgh. The greater portion of them are of a lively character, and suited
for dancing, such as reels, strathspeys, and quick steps. It would not be interesting in a notice like this to enumerate the titles of so many compositions; but we may safely refer to the beautiful air of "Locherroch side," to which Burns wrote his pathetic ballad of "Oh! stay, sweet warbling woodlark, stay," and which is equally effective as a quick dancing tune—to the "Lament for Abercairney," and his "Farewell to Whisky"—as specimens which entitled him to take his place among the best known composers of Scottish music, which our country has produced.
As a performer of Scottish music on the violin, we have already said that he was acknowledged to have been the ablest of his day; and we cannot do better than once more quote from the biographic sketch written by Dr M'Knight, himself a skilful violinist, and who frequently heard Neil play, to illustrate the peculiar character of his style: "There is perhaps no species whatever of music executed on the violin, in which the characteristic expression depends more on the power of the bow, particularly in what is called the upward or returning stroke, than the Highland reel. Here accordingly was Gow's forte. His bow-hand, as a suitable instrument of his genius, was uncommonly powerful; and when the note produced by the upbow was often feeble and indistinct in other hands, it was struck in his playing, with a strength and certainty, which never failed to surprise and delight the skilful hearer. As an example, may be mentioned his manner of striking the tenor C, in 'Athol House.' To this extraordinary power of the bow, in the hand of great original genius, must be ascribed the singular felicity of expression which he gave to all his music, and the native highland gout of certain tunes, such as 'Tulloch Gorum,' in which his taste and style of bowing could never be exactly reached by any other performer. We may add, the effect of the sudden shout, with which he frequently accompanied his playing in the quick tunes, and which seemed instantly to electrify the dancers; inspiring them with new life and energy, and rousing the spirits of the most inanimate. Thus it has been well observed, ' the violin in his hands, sounded like the harp of Ossian, or the lyre of Orpheus,' and gave reality to the poetic fictions, which describe the astonishing effects of their performance."
Such was the estimation in which Neil Gow was held, that the late Sir Henry Raeburn, the most eminent portrait painter then in Scotland, was employed first to paint his portrait for the county hall of Perth, and afterwards, separate portraits for the duke. of Athol, lord Gray, and the honourable Mr Maule of Panmure, besides his portrait, now in possession of his grand-daughter Mrs Luke, and many copies scattered through the country. His portrait has also been introduced into the "View of a Highland Wedding," by the late Mr Allan, along with an admirable likeness of his brother Donald, who was his steady and constant violoncello.
Neil Gow was twice married—first to Margaret Wiseman, by whom he had five sons, and three daughters. Of these, three sons, and two daughters died
