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Latest revision as of 15:53, 17 March 2024

The first mention of the tune is that it was one of two tunes (with "The White Cockade") played by the pipers of the Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy on May 11, 1745.

Flood (1906) and O’Neill (1913) believe was probably the last appearance in battle of the Irish Piob mor (war pipes or great pipes, which survived only in Scotland) of which there is any mention.

Rutherford's 200 Country Dances, volume 1, 1756, contains the first country dance printing of the tune, which also appears in English collections as a jig by the name "Barbary Bell."

Typically for popular melodies of the time, it also became the vehicle for many songs, including air 35, "A plague of these wenches," in the opera Love in a Village by T.A. Arne and I. Bickerstaffe (London, 1762). As song, country dance or quickstep it remained popular for many years. In later military tradition it was played on December 31, 1811 by the 87th Regiment band as a French attack became a rout at Tarifa, and Winstock (1970) remarks it was a favourite quickstep of the Napoleonic era Peninsular War in the British army.

Queen Victoria requested the melody from piper Thomas Mahon when she and the Prince Consort visited Ireland for the first time in 1849. Mahon was surprised to learn that she and the Prince were familiar “with the best gems in Irish music,” and he also played “The Royal Irish Quadrilles” and “Garryowen” at their behest.

The Queen must have been impressed with his playing, for she directed that henceforth Mahon have the title “Professor of the Irish Union Bagpipers to Her Most Gracious Majesty, Queen Victoria” (O’Neill, 1913). English country dance versions appear several times in James Oswald’s Caledonian Pocket Companion (London, 1760), and James Aird printed it in Glasgow in his Selection of Scotch, English, Irish and Foreign Airs, vol. 1 (1782). In fact, English printings of the tune by far predate Irish ones, and it may be the provenance is English, despite the Irish-sounding title.

...more at: St. Patrick's Day - full Score(s) and Annotations

X:11 T:Patrick's Day in the Morning with Variations M:6/8 L:1/8 R:Jig S:Philip Carolan music manuscript collection N:Philip Carolan (c. 1839-1910, Crossmolina, County Mayo), a musically literate N:farmer and fiddler who compiled his ms. probably during 1863-1873. S:Angela Buckley, thesis, “A Critical Edition of the Irish Music Manuscripts of S:Philip Carolan c. 1839-1910, vol. 2”, Waterford Institute of Technology, S:2007, p. 118. Carolan ms. 2, No. 34. K:G V:1 clef=treble name="11." [V:1] D|GAG GAB|ded dcB|AcB AGF|EFE E2D| GAG GBd|gfe dcB|AcB AGF|1 E2F G2:|2 E2F G3|| |:def gag|fed edB|def gag|fed e3| def gag |fed efg|gdB ecA|1 dBG AGF:|2 dBG AGD|| |:(G/F/)G/A/G (G/F/)G/A/(B/c/)|(d/c/)d/e/d (e/d/)c/B/(A/G/)|(B/A/)B/c/(B/A/) GED| E/F/(GF) .E.Dz| |:(G/F/)G/A/G (G/F/)G/A/(B/c/)|(d/c/)d/e/d (e/d/)c/B/(A/G/)|(B/A/)B/c/(B/A/) GED|E2-F G2z:| |:def (g/a/)g/f/e|(f/g/)f/e/d e2B|def (g/a/)g/f/e|(f/g/)f/e/d e2-f| def (g/a/)g/f/e|(d/e/)f/e/d e2B|def (g/a/)g/f/e|(f/g/)f/e/d efg| (G/F/)G/A/G (G/F/)G/A/(B/c/)|(d/c/)d/e/d (e/d/)c/B/(A/G/)|(B/A/)B/c/(B/A/) GED|E/F/(GF) EDz| (G/F/)G/A/G (G/F/)G/A/(B/c/)|(d/c/)d/e/d (e/d/)c/B/(A/G/)|(B/A/)B/c/(B/A/) GED|(E2F) G2z:| |:.G/.A/.B/.c/.d/.e/ .B/.c/.d/.e/.f/.g/|ded dBG|.B/.A/.B/.c/.d/.c/ .B/.A/.G/.F/.E/.D/|.E/.F/GF EDz| .G/.A/.B/.c/.d/.e/ .B/.c/.d/.e/.f/.g/|ded dBG|.B/.A/.B/.c/.d/.c/ .B/.A/.G/.F/.E/.D/|E2F G2:|]

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 {{SheetMusic
-|f_track=Katherine Oggie.mp3
+|f_track=Leo Rowsome - St Patrick's Day.mp3
-|f_pdf=Katharine ogie.pdf
+|f_pdf=St.Patricks Day.pdf
-|f_artwork=Lady_OGLE,_Nord_de_Waterloo,_Brussels,_1856_(cm_18,5_x_25,5).JPG
+|f_artwork=Irish brigade.jpg
-|f_tune_name=Katharine Oggle
+|f_tune_name=St. Patrick's Day
-|f_track_title=Katharine Oggle
+|f_track_title=St. Patrick's Day
-|f_section=X5
+|f_section=X11
-|f_played_by=[https://soundcloud.com/juliepetit-violedegambe Julie Petit]
+|f_played_by=[https://open.spotify.com/artist/5ZIhbzIF7v2lYvU6Xoogn6?si=rKsfUZJNTBm2ULon6nJQOQ Leo Rowsome]
-|f_notes= Kerr Crest & Coats of Arms.
+|f_notes=The Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy.
-|f_caption=Lady Catherine Ogle was a real personage, who in 1591 married Sir Charles Cavendish of Stoke and Welbeck Abbey (c. 1553-1617), his second wife. They lived in Bolsover Castle, Derbyshire. She was born around 1570 and was the daughter of Cuthbert Ogle, 7th Lord Ogle, in Northumberland. Catherine inherited the barony of Ogle (she was the 8th Baroness), which then passed into the Cavendish family.
+|f_caption=This is the only occasion on which country dances are performed at the Irish court. The ball on Patrick’s night is always opened by the lively dance of “Patrick’s day.” The dowagers of both sexes then come into play; and “the Irish trot” of many a veteran belle, recalls the good old times of the Rutland Court: when French quadrilles were “undreamed of in philosophy” of the dancing of that noted epoch.
-|f_source=[https://soundcloud.com/juliepetit-violedegambe/katherine-oggie Soundcloud]
+|f_source=[https://open.spotify.com/track/1sCZEFYWr8558PJQy2Y9PH?si=54e4302356dd4aa3 Spotify]
 |f_pix=420
 |f_picpix=200
-|f_article=[[Katharine Oggle | '''Katharine Oggle''']]
+|f_article=[[St. Patrick's Day | '''St. Patrick's Day''']]
-The air was credited to Irish harper Rory dall O'Cahan by William Grattan Flood, the Irish antiquarian in his History of Irish Music. Rory dall spent most of his life in Scotland between 1601 and 1650, known to the court of King James in that country; despite this Flood seems anxious to claim the melody as Irish in origin.
+The first mention of the tune is that it was one of two tunes (with "The White Cockade") played by the pipers of the Irish Brigade attached to the French forces which helped turn the tide of battle against the English troops at the battle of Fontenoy on May 11, 1745.
-Unfortunately, Grattan Flood's work tends to be error-prone, and it is hard to credit any unsubstantiated assertions with much veracity. "Katherine Ogle" (there are numerous spelling variations) appears earliest in the Scottish '''Panmure Manuscript''' #9454, c. 1675, '''Seventy Seven Dances, Songs and Scots Airs for the Violin''', and was printed under this title in the Appendix (written in 1688) to Playford's '''Dancing Master''' of 1686 (a note called it "a new dance"). On the strength of the Playford publication in the '''Dancing Master''', 1686 edition, the English collector Chappell (1859) disputes the claim of Scottish ancestry.
+Flood (1906) and O’Neill (1913) believe was probably the last appearance in battle of the Irish Piob mor (war pipes or great pipes, which survived only in Scotland) of which there is any mention.
-Chappell (1859), in fact, takes virulent exception to Stenhouse's scholarship regarding this tune after the latter claimed that the air was Scottish and dated it from the year 1680 (when it was sung by Mr. John Abell at a concert in Stationers' Hall). Chappell found that the only date Abell could possibly have sung it was in 1702, and he states that the earliest printing was in the Appendix to the 7th edition of Playford's '''Dancing Master''' of 1686 (where it appears under the title "Lady Catherine Ogle"); Chappell, who claimed many Irish and Scottish airs as English, was evidently unaware of the version in the '''Panmure Manuscript''' when he accused Stenhouse of being deliberately misleading regarding its national origin. John Glen (1891 and 1900) also disagrees with Chappell, noting that Chappell's own source, John Playford, published the tune a year before it was mentioned in '''The Dancing Master's''' appendix (1688) in '''Apollo's Banquet''' (5th edition, 1687) where it is called a "Scotch Tune" in footnotes and in fact appears under the title "A Scotch Tune" only. O'Farrell (c. 1806) also listed the melody as "Scotch." J.M. Wood ('''The Popular Songs and Melodies of Scotland''', 1887) also concluded it was Scottish, "from internal evidence."
+'''Rutherford's 200 Country Dances, volume 1''', 1756, contains the first country dance printing of the tune, which also appears in English collections as a jig by the name "[[Barbary Bell]]."
-It appears in one of the earliest Scottish fiddler's manuscript repertory books, c. 1705, in the private collection of Frances Collinson (1971). Early Scottish manuscript versions include the '''Guthrie Manuscript''' (c. 1680), the '''Panmure Violin 1 Manuscript''' (c. 1670's), and the '''Leyden Manuscript''' (c. 1692, though not the exact version given by Playford). The air appears in full in the '''Guthrie Manuscript''' (c. 1680's), which was named for Covenanting minister James Guthrie of Stirling, beheaded in 1661 for publishing a seditious pamphlet; it appears in a section of music inserted later in a book of his sermons.
+Typically for popular melodies of the time, it also became the vehicle for many songs, including air 35, "A plague of these wenches," in the opera '''Love in a Village''' by T.A.
+Arne and I. Bickerstaffe (London, 1762). As song, country dance or quickstep it remained popular for many years. In later military tradition it was played on December 31, 1811 by the 87th Regiment band as a French attack became a rout at Tarifa, and Winstock (1970) remarks it was a favourite quickstep of the Napoleonic era Peninsular War in the British army.
-Mary Anne Alburger points out that he was probably no lover of dance music, and that it is possible someone sewed the music into Guthrie's book as a joke.
+Queen Victoria requested the melody from piper Thomas Mahon when she and the Prince Consort visited Ireland for the first time in 1849. Mahon was surprised to learn that she and the Prince were familiar “with the best gems in Irish music,” and he also played “The Royal Irish Quadrilles” and “Garryowen” at their behest.
+The Queen must have been impressed with his playing, for she directed that henceforth Mahon have the title “Professor of the Irish Union Bagpipers to Her Most Gracious Majesty, Queen Victoria” (O’Neill, 1913). English country dance versions appear several times in James Oswald’s '''Caledonian Pocket Companion''' (London, 1760), and James Aird printed it in Glasgow in his '''Selection of Scotch, English, Irish and Foreign Airs, vol. 1''' (1782). In fact, English printings of the tune by far predate Irish ones, and it may be the provenance is English, despite the Irish-sounding title.
 }}