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|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Peter_Hardie's_Lament_for_Sir_M._Dick >
'''PETER HARDIE'S LAMENT FOR SIR M. DICK.''' Scottish, Slow Air (6/8 time). A Minor. Standard tuning (fiddle). AAB. Composed by Peter Hardie (c. 1775-1863), who has been said to have been a cousin to the great Scottish violin maker Matthew Hardie (1775-1826). Hardie may also have worked as a gamekeeper on the Atholl estate, and may have been influenced there by Niel Gow, as his tunes show stylistic similarities. The musical Hardie family continued with Peter's descendants Bill Hardie (b. 1913) and Bill's son Alastair (b. 1946). Peter was a student of Niel Gow's and spent most of his life in the Dunkeld, Perthshire, area. See also Peter Hardie's composition "[[Lochordy Lodge]]," a reel from his music manuscript collection.  
|f_annotation='''PETER HARDIE'S LAMENT FOR SIR R. DICK.''' Scottish, Slow Air (6/8 time). A Minor. Standard tuning (fiddle). AAB. Composed by Peter Hardie (c. 1775-1862), a cousin and luthiery the great Edinburgh violin maker Matthew Hardie (1775-1826), the "Scottish Stradivari."  Peter, who was known as 'Highland Hardie' to distinguish him from his more famous cousin, was born in Perthshire and attended the University of Edinburgh, and after his studies he returned to Perthshire, first to Dunkeld, and, after a brief stay in Aberdeenshire<ref>Hardie was for a time the gamekeeper for the Marquis of Huntly. </ref>, eventually found employment as a gamekeeper for the Duke of Atholl, a post held previously by John Crerar (1750-1840), who had been a student of Inver fiddler composer Niel Gow. The musical Hardie family continued with Peter's descendants Bill Hardie (b. 1913) and Bill's son Alastair (b. 1946).  
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Major General Sir Robert Henry Dick (1787-1846) was a member of the Dick family of Tulliemet House south of Pitlochry, in Perthshire.  Sir Robert's father, William Dick, had been born in India in 1785, and rose to prominence from humbler origins.  As the popular story goes, politician Henry Dundas had been staying in Dunkeld with the Duke of Atholl and when out walking encountered a farmer’s daughter who petitioned him to help her fiancé, a doctor who was too poor to marry her. Dundas got him the post of assistant surgeon in the East India Company, enabling the the couple to marry and go to India in 1781, where he made a fortune. Retiring in 1802, he bought an estate at Tullymet (now Tulliemet near Pitlochry).  In his capacity as a physician, William Dick was credited with having saved the life of Sir Walter Scott.  He used his political pull to advance the career of his son Robert Dick in the Black Watch, the Royal Highland Regiment. Robert became a hero of the Peninsular War, and at Quatre Bras assumed command when his commanding Officer, Sir Robert Macara, was killed, though later in the same battle Robert was wounded.  He recovered from his wound to fight at Waterloo, and rose to command the 42nd Battalion from 1815 to 1828, becoming Colonel of the 73rd Battallion. He died a hero’s death at the battle of Sobraon in 1846 in the First Sikh War, leading and giving encouragement to the 80th Regiment. Hence this also dates Peter Hardie's composition.  
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''Source for notated version'': Peter Hardie music manuscript collection, early 19th century [Alburger].
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See also Peter Hardie's composition "[[Lochordy Lodge]]," a reel from his music manuscript collection.  
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''Printed sources'': Alburger ('''Scottish Fiddlers and Their Music'''), 1983; Ex. 75, p. 119.
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Pete Clark, for one, believes it was the intention of the composer that the tune should be played in dotted rhythm throughout the tune<ref>Clark's opinion is based on the initial measure of Peter Hardie's original draft in which 'dotted rhythm' is suggested in onyy the first bar.</ref>.
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|f_source_for_notated_version=Peter Hardie music manuscript collection, early 19th century [Alburger, Clark/Fiddler Magazine].
''Recorded sources'': <font color=teal></font>
|f_printed_sources=Alburger ('''Scottish Fiddlers and Their Music'''), 1983; Ex. 75, p. 119.  '''Fiddler Magazine''', vol. 22, No. 4, Winter 2015-16; p. 39. 
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