Celebrating the birth of one of Scotland’s most famous sons, the 25th of January, Robert Burns’ day, is welcomed annually by the traditional “haggis, ‘neeps and tatties”, copious amounts of whisky, poetry, and of course, song. Set to some of the most hauntingly beautiful melodies of the Scottish folk repertoire, Burns’ emotive and absorbing poetry is as popular and relevant now as it ever has been. However, many of Burns’ most famous songs have been set to traditional melodies with far older roots.

Robert Burns had a keen interest in preserving, collecting, and re-vamping old Scottish songs, and in the late eighteenth century, he, in collaboration with with struggling music engraver James Johnson produced a six-book volume entitled The Scots Musical Museum, an anthology of Scottish song and music, with 100 songs in each book. Although one of many similar publications, it was the Museum which became a truly pivotal force in the continuation and direction of the Scottish folk song tradition. Reaching international popularity, arrangements were made of its songs by composers such as Joseph Haydn and Ludwig van Beethoven, and some of Burns’ most famous titles can be found here, such as My Love is Like a Red, Red Rose, Comin’ Through the Rye and Ye Banks and Braes O’ Bonnie Doon.

Burns’ verse was heavily inspired by the music, and he would not sit to pen the lyrics until he was able to sing the tune, saying;

My way is: I consider the poetic sentiment, correspondent to my idea of the musical expression, then chuse my theme, begin one stanza, when that is composed – which is generally the most difficult part of the business – I walk out, sit down now and then, look out for objects in nature around me that are in unison or harmony with the cogitations of my fancy and workings of my bosom, humming every now and then the air with the verses I have framed. when I feel my Muse beginning to jade, I retire to the solitary fireside of my study, and there commit my effusions to paper, swinging, at intervals, on the hind-legs of my elbow chair, by way of calling forth my own critical strictures, as my, pen goes.

Over 200 years on, Burns’ poetry continues to captivate and inspire musicians, with contemporary composers such as James MacMillan and Arvo Part creating new arrangements of his work, and traditional songs being constantly reinterpreted by folk musicians. Although having died at the age of just 37, Burns’ “immortal memory”‘ lives on, by his evocative poetry continuing to stimulate and inspire composers and performers alike today.

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