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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=The Fox Chase.mp3
+|f_track=Leo Rowsome - St Patrick's Day.mp3
-|f_pdf=Fox Chase.pdf
+|f_pdf=St.Patricks Day.pdf
-|f_artwork=Edmund_Keating_Hyland_plaque.jpg
+|f_artwork=Irish brigade.jpg
-|f_tune_name=The Fox Chase
+|f_tune_name=St. Patrick's Day
-|f_track_title=Fox_Chase_(3)_(The)
+|f_track_title=St. Patrick's Day
-|f_section=abc
+|f_section=X11
-|f_played_by=[https://soundcloud.com/mhichealoriabhaigh Mhícheál Ó Riabhaigh]
+|f_played_by=[https://open.spotify.com/artist/5ZIhbzIF7v2lYvU6Xoogn6?si=rKsfUZJNTBm2ULon6nJQOQ Leo Rowsome]
-|f_notes=Keating Hyland plaque, Cahir
+|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 Fox Chase" is the tune by which every piper seems to have been judged, at least in the 19th century, when it was ubiquitous among pipers.
+|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/mhichealoriabhaigh/the-fox-chase Soundcloud]
+|f_source=[https://open.spotify.com/track/1sCZEFYWr8558PJQy2Y9PH?si=54e4302356dd4aa3 Spotify]
 |f_pix=420
 |f_picpix=200
-|f_article=[[Fox_Chase_(3)_(The) | '''The Fox Chase''']]
+|f_article=[[St. Patrick's Day | '''St. Patrick's Day''']]
-A programatic piece replete with 'horns' and the 'cry of the hounds', 'death of the fox', and winds up with "[[Foxhunter's Jig (1) (The)]]."
+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.
-Some sections are variously in 3/4, 6/8 and 9/8 time. This "Fox Chase" was composed around 1799 by celebrated blind Co. Tipperary piper Edward Keating Hyland (1780-1845), who once received a set of expensive pipes from King George IV of England (who heard the piper while visiting Dublin in 1821) as a mark of recognition for his performance, according to Irish antiquarian Gratten Flood.
+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.
-It is the model for the Scottish "[[Hunting of the Fox (The)]]," but Hyland based his piece on an older (though short, eight-bar) song called "[[Maidrin Ruadh (An)]]" ([[Modhereen rua]]), which is based on a dialogue between a farmer and a fox which he had detected "with the goods" on him in the form of "a fine fat goose."
+'''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]]."
-The piper's piece concludes with the well-known slip jig "[[Foxhunter's Jig (1) (The)]]." Hyland's version, the first full version, appears in O'Farrell's '''Pocket Companion of the Irish or Union Pipes''' (vol. 1, book 2, c. 1806) {under the title "[[Irish Fox Hunt (The)]]"}. Hyland was no simple country piper, but an individual who studied harmony under Thomas Moore’s musical collaborator, Sir John Stevenson.
+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.
-O'Neill (1913) also prints two MS versions of the tune, one from Henry Hudson, c. 1841, and the other from Prof. P.H. Griffith of Dublin--the latter being a Tipperary version. Knowles (1995) finds parts of "The Fox Chase" in an anonymous 18th century English manuscript, in which it is entitled "Foxhunter Hornpipe (The)," and calls it "certainly the oldest known version" of the tune.
+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.
 }}