Byron’s _Hebrew Melodies_, which were written at the suggestion of the Honourable Douglas James William Kinnaird (1788‒1830),¹ were published with music in January, 1815. Kinnaird was a man of considerable ability and great intellectual attainments. He introduced a Jewish composer, Isaac Nathan (1791‒1864), to Lord Byron about 1812. This was the beginning of a friendship which ended only with the death of the poet. Byron wrote the _Hebrew Melodies_ with the express purpose of their being set to music by Nathan, who subsequently bought the copyright of the work. Nathan decided to raise the means for the publication of the _Melodies_ by subscription, and with that object associated himself with his co-religionist, the melodious tenor John Braham (1774?‒1856), who began his musical career as a chorister at the Synagogue in Duke’s Place. Braham composed several operas, one of them the _Americans_, containing that famous song, _The Death of Nelson_; and achieved a European reputation in his time. On signing the subscription list, Braham intimated his desire to assist in the publication of the _Melodies_ and to sing them in public. Hence on the title-page of the first edition, which was published in 1815, it was recorded that the music was newly arranged, harmonized and revised by I. Nathan and I. Braham. ¹ Fifth son of George (_ob._ 1805), seventh Baron Kinnaird of Inchture. The _Melodies_ consisted mainly of a selection of favourite airs sung in connection with the observance of Jewish religious ceremonies (Appendix l). It is interesting to observe that the music was reviewed first. Some of the remarks respecting Hebrew music are worthy of note. “In our very limited Review, it cannot be expected that we should attempt to throw any new light on the dark subject of Hebrew musick.... Whether the present Melodies were ever performed by King David’s 4000 Levites, ... we shall not venture to decide: their age and originality are left entirely to conjecture, having been ‘preserved by memory and tradition alone.’ Some of them possess an interesting wildness of character, which leaves no doubt as to their real antiquity; and the Editors assure us that they have preserved as much of this feature as the rhythm of written musick and the adaptation of the words, would permit.”¹ The Literary Review of the same Magazine devotes a very few lines to a criticism of the poems: “To say that these _Melodies_ are Lord Byron’s, is to pronounce them elegant. We select the following Poem, in addition to that already given in Part I., _p._ 450” (_i.e._ “I saw thee weep”). There follows the poem “Saul.”² ¹ _Gentleman’s Magazine_, June, 1815, _p._ 539. ² _Ibid._, August, _p._ 141.