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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=Trenchmore.mp3
+|f_track=Leo Rowsome - St Patrick's Day.mp3
-|f_pdf=Trenchmore.pdf
+|f_pdf=St.Patricks Day.pdf
-|f_artwork=Circle_of_William_Scrots_Edward_VI_of_England.jpg
+|f_artwork=Irish brigade.jpg
-|f_tune_name=Trenchmore
+|f_tune_name=St. Patrick's Day
-|f_track_title=Trenchmore
+|f_track_title=St. Patrick's Day
-|f_section=abc
+|f_section=X11
-|f_played_by=[https://soundcloud.com/jacob-heringman Jacob Heringman]
+|f_played_by=[https://open.spotify.com/artist/5ZIhbzIF7v2lYvU6Xoogn6?si=rKsfUZJNTBm2ULon6nJQOQ Leo Rowsome]
-|f_notes= Portrait of Edward VI of England, seated, wearing a gown lined in fur (ermine or lynx) over a crimson doublet with the collar of the Order of the Garter and holding a Bible.
+|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=The first record of the tune and dance is in an account of the Christmas festivities at the court of Edward VI of England in 1551, where a list of expenses for the year’s Lord of Misrule (the character responsible for overseeing the celebrations) included, for his dancers, the cost of thre garments of sarsenett with iij payre of sloppes of owde store, for them that daunsed trenchemore.
+|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/jacob-heringman/trenchmore Soundcloud]
+|f_source=[https://open.spotify.com/track/1sCZEFYWr8558PJQy2Y9PH?si=54e4302356dd4aa3 Spotify]
 |f_pix=420
 |f_picpix=200
-|f_article=[[Trenchmore | '''Trenchmore''']]
+|f_article=[[St. Patrick's Day | '''St. Patrick's Day''']]
-The dance featured a number of ‘tricks’ or ‘capers’ and seems to have been a large, boisterous activity. Thomas Deloney, writing in his work '''The Gentle Craft, Part II''' (London, c. 1598), describes a character who “like one dauncing the trench more he stampt up and downe the yard, holding his lips in his hands.”
+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.
-It was mentioned in a 1564 morality play by William Bulleyn, where a minstrel was described as "dancing Trenchmore”; William Sampson’s '''The Vow Breaker''' (1636) gives: “We had a Wedding to day and the young fry tickle Trench-more.”
+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.
-Some time after its introduction the dance was sufficiently common as to attract allusion in both literature and common usage—any unrestrained, wild activity was likely to provoke comparison with ‘dancing Trenchmore’, and, on a more sinister note, one recorded letter threatens that a man will be made to talk by being suspended so that his feet barely touch the ground, so that he will ‘dance Trenchmore’ in his agony (see Donnolly).
+'''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]]."
-Trenchmore is given by John Playford as the title of a dance, however, as Dean-Smith & Nicol point out:
+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.
-<blockquote>
+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.
-''The word is used elsewhere as the name for a kind of dance with an under-and-over movement''
-''(like 'Grimstock' or the roll-figure of certain sword-dances) or danced under and over the furniture''
+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.
-''through the hall and kitchen; the word is often used in the literature of the period:--"Capering a''
-''morrisca or trenchmore": "Like one dancing the trenchmore he stampt up and down, holding his hips in''
+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.
-''his hands," "Among a number of these contrey dances I did light on such a Galliard as had a tricke''
-''(caper) above trenchmore", while 'The West-country Jigg' or 'A trenchmore galliard' to the tune''
-''of 'Up with Aley' in the Roxburgh Ballads described a country gathering like "Come Lasses and lads" as''
-''the wedding of the Lasses of Trenchmore Lee''<ref>Margaret Dean-Smith & E.J. Nicol, “The Dancing Master: 1651-1728: Part III. “Our Country Dances.” Journal of the English Folk Dance and Song Society, vol. 4, No. 6 (Dec., 1945), p. 226. </ref>.
-</blockquote>
 }}