Annotation:Scholar (The): Difference between revisions
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{{TuneAnnotation | |||
|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Scholar_(The) > | |||
|f_annotation='''SCHOLAR, THE''' (An Scoliare). AKA and see “[[South Shore (2) (The)]]," "[[Well-learned Scholar (The)]].” Irish, Reel or Hornpipe (cut or whole time). D Major/Mixolydian. Standard tuning (fiddle). AABB (Allan, O'Neill/Krassen, Taylor/Tweed): AA'BB' (Kerr, O'Neill/1850, Songer). The tune is popularly attributed to Tyneside fiddler and composer James Hill, famous for his hornpipes. It appears in the modern collection of his tunes (Dixon, '''The Lads Like Beer''') under the title “The South Shore,” however, the attribution to him is not firm. Set as a reel, the tune is still a popular piece in Irish sessions. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). The reel is contained in the Rev. Luke Donnellan music manuscript collection (late 19th/early 20th century) under the title "[[Well-learned Scholar (The)]]." Francis O'Neill printed two versions: the first, attributed to John Gillan, is nonetheless identical to R.M. Levey's 1858 setting. The second is a three-part version in his later '''Waifs and Strays of Gaelic Melody''' (1922), wherein he remarks: | |||
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'''SCHOLAR, THE''' (An Scoliare). AKA and see “[[South Shore (The)]].” Irish, Reel or Hornpipe (cut or whole time). D Major/Mixolydian. Standard tuning (fiddle). AABB (Allan, O'Neill/Krassen, Taylor/Tweed): AA'BB' (Kerr, O'Neill/1850, Songer). The tune is popularly attributed to Tyneside fiddler and composer James Hill, famous for his hornpipes. It appears in the modern collection of his tunes (Dixon, '''The Lads Like Beer''') under the title “The South Shore,” however, the attribution to him is not firm. Set as a reel, the tune is still a popular piece in Irish sessions. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). | |||
<blockquote> | <blockquote> | ||
''Long before I had any idea of publishing a work of this character, the fame of John Kelly, and Joseph P. Tamony,'' | ''Long before I had any idea of publishing a work of this character, the fame of John Kelly, and Joseph P. Tamony,'' | ||
| Line 16: | Line 8: | ||
''mutual friend Francis E. Walsh of San Francisco, is incapable of doing justice to the spirit and excellence of'' | ''mutual friend Francis E. Walsh of San Francisco, is incapable of doing justice to the spirit and excellence of'' | ||
''their execution, for all gifted Irish musicians instinctively embellish their performance with peculiar trills,'' | ''their execution, for all gifted Irish musicians instinctively embellish their performance with peculiar trills,'' | ||
''turns and graces, more easily recognized than described. ‘The Scholar’ was first printed in R.M. | ''turns and graces, more easily recognized than described. ‘The Scholar’ was first printed in R.M.'' | ||
''Music of Ireland, vol. 1''' (London 1858); and not since then until the publication of the O'Neill Collections in'' | ''Levey's '''Dance Music of Ireland, vol. 1''' (London 1858); and not since then until the publication of the O'Neill Collections in'' | ||
''recent years. The tune seems to have been a favorite with fiddlers and pipers of Longford, Leitrim and Roscommon,'' | ''recent years. The tune seems to have been a favorite with fiddlers and pipers of Longford, Leitrim and Roscommon,'' | ||
''as early as the second quarter of the 19th Century; and, by the way, our talented contributor Mr. Kelly hails from'' | ''as early as the second quarter of the 19th Century; and, by the way, our talented contributor Mr. Kelly hails from'' | ||
| Line 26: | Line 18: | ||
<br> | <br> | ||
Commencing in the early 20th century, the tune has also become a favorite of accordion players and was recorded in New York in 1921 by Peter J. Conlon (c. 1892-1967). Later, accordion players Michael Grogan, Tony McMahon, Johnny Connolly, John Whelan, Michael Sexton and Joe Derrane all recorded the hornpipe. A slowed down and somewhat altered version of the melody was used as an air for a song also called “The Scholar” written in 1979 by poet and songwriter Thom Moore, performed by Maura O'Connell, Mark Black and others [https://www.youtube.com/watch?v=znLBjjGRdBM]. <br> | Commencing in the early 20th century, the tune has also become a favorite of accordion players and was recorded in New York in 1921 by Peter J. Conlon (c. 1892-1967). Later, accordion players Michael Grogan, Tony McMahon, Johnny Connolly, John Whelan, Michael Sexton and Joe Derrane all recorded the hornpipe. A slowed down and somewhat altered version of the melody was used as an air for a song also called “The Scholar” written in 1979 by poet and songwriter Thom Moore, performed by Maura O'Connell, Mark Black and others [https://www.youtube.com/watch?v=znLBjjGRdBM]. <br> | ||
|f_sources_for_notated_versions=John Gillan [O'Neill/MOI]; fiddler John Kelly (San Francisco) [O’Neill/Waifs]; Karen Tweed says, “a favorite tune of my mum and John Whelan my teacher” [Taylor/Tweed]. | |||
|f_printed_sources=Giblin ('''Collection of Traditional Irish Dance Music'''), 1928; 23 (reel setting). Kerr ('''Merry Melodies, vol. 1'''), c. 1880; No. 9, p. 34. R.M. Levey ('''First Collection of the Dance Music of Ireland'''), 1858; No. 39, p. 16. McDermott ('''Allan's Irish Fiddler'''), c. 1920's, No. 41, p. 10 (reel setting). O'Neill (Krassen), 1976; p. 91. O'Neill ('''Music of Ireland: 1850 Melodies'''), 1903; No. 1640, p. 305. O'Neill ('''Dance Music of Ireland: 1001 Gems'''), 1907; No. 867, p. 150. O’Neill ('''Waifs and Strays of Gaelic Melody'''), 1922; No. 306. Songer ('''Portland Collection'''), 1997; p. 178. Taylor ('''Traditional Irish Music: Karen Tweed’s Irish Choice'''), 1994; p. 17. | |||
|f_recorded_sources=CCE, Néillidh Mulligan – “The Leitrim Thrush.” Claddagh Atlantic 832812, Tommy Reck (originally recorded 1971). Claddagh CD BUACD 9501, “Michael Flatley” (originally recorded 1981). Copley 9-191, Tommy Reck. DMPCD 9401, Karen Tweed – “Drops of Springwater” (1994). Green Linnet SIF 1075, John Whelan & Eileen Ivers - "Fresh Takes" (1987). OKeh 4264-A (78 RPM), Peter J. Conlon (1921). Oldtime Records OTR 104, "The Pure Genius of P.J. Conon" (2012). Out of the Blue Productions, A Band Named Bob - “A Band Named Bob” (1994). Philo 1051, Boys of the Lough "Good Friends, Good Music" (1977). Rounder CD 1087, Michael Grogan – “From Galway to Dublin” (1992. Reissue of 1942 original). Sound Records SUNC 2, Thom Moore – “Dreamer in Russia” (1990). | |||
|f_see_also_listing=Alan Ng's Irishtune.info [https://www.irishtune.info/tune/1729/]<br> | |||
Alan Ng's Irishtune.info [https://www.irishtune.info/tune/1729/]<br> | |||
Hear P.J. Conlon's 1921 recording at the Comhaltas Archive [https://archive.comhaltas.ie/compositions/2268#/tracks/1188]<br> | Hear P.J. Conlon's 1921 recording at the Comhaltas Archive [https://archive.comhaltas.ie/compositions/2268#/tracks/1188]<br> | ||
}} | |||
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Latest revision as of 04:44, 25 September 2022
X:1 T:Scholar, The M:2/4 L:1/8 R:Reel Q:"Moderately" B:R.M. Levey – First Collection of the Dance Music of Ireland (1858, No. 39, p. 16) Z:AK/Fiddler’s Companion K:D A/>A/|d/(f/a/)(f/ g/)(f/e/)(g/|f/)(d/A/)(G/ F/)(G/A/)(=c|B/)(G/F/)(G/ E/)(F/G/)(g/|f/)(d/e/)(c/ d/c/)(B/A/)| d/(f/a/)(f/ g/)(f/e/)(g/|f/)(d/A/)(G/ F/)(G/A/)(=c/|B/)(G/F/)(G/ E/)(F/G/)(g/|1 f/)g/e/c/ d:|2 f/(g/e/)(c/ d/)(e/f/)(g/|| |:a)(f/d/) d/(f/a/)(f/|d/)(f/a/)(f/ b/)(a/g/)(f/|g/)(f/g/)(e/ =c/)e/g/e/|=c/e/g/e/ a/g/f/e/| a/^g/a/f/ d/(f/a/)f/|d/(f/a/)(f/ b/)(a/g/)f/|g/f/g/f/ g/b/a/g/|1 f/d/e/c/ d/e/f/g/:|2 f/g/e/c/ dz||
SCHOLAR, THE (An Scoliare). AKA and see “South Shore (2) (The)," "Well-learned Scholar (The).” Irish, Reel or Hornpipe (cut or whole time). D Major/Mixolydian. Standard tuning (fiddle). AABB (Allan, O'Neill/Krassen, Taylor/Tweed): AA'BB' (Kerr, O'Neill/1850, Songer). The tune is popularly attributed to Tyneside fiddler and composer James Hill, famous for his hornpipes. It appears in the modern collection of his tunes (Dixon, The Lads Like Beer) under the title “The South Shore,” however, the attribution to him is not firm. Set as a reel, the tune is still a popular piece in Irish sessions. The title appears in a list of tunes in his repertoire brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). The reel is contained in the Rev. Luke Donnellan music manuscript collection (late 19th/early 20th century) under the title "Well-learned Scholar (The)." Francis O'Neill printed two versions: the first, attributed to John Gillan, is nonetheless identical to R.M. Levey's 1858 setting. The second is a three-part version in his later Waifs and Strays of Gaelic Melody (1922), wherein he remarks:
Long before I had any idea of publishing a work of this character, the fame of John Kelly, and Joseph P. Tamony, as phenomenal fiddlers, had reached Chicago. The measured score of their tunes, for which I am indebted to our mutual friend Francis E. Walsh of San Francisco, is incapable of doing justice to the spirit and excellence of their execution, for all gifted Irish musicians instinctively embellish their performance with peculiar trills, turns and graces, more easily recognized than described. ‘The Scholar’ was first printed in R.M. Levey's Dance Music of Ireland, vol. 1 (London 1858); and not since then until the publication of the O'Neill Collections in recent years. The tune seems to have been a favorite with fiddlers and pipers of Longford, Leitrim and Roscommon, as early as the second quarter of the 19th Century; and, by the way, our talented contributor Mr. Kelly hails from the latter county.
Dublin piper Tommy Reck’s first commercial recording (for the Copley label) was of this tune (paired with “Salamanca (1)” and “Tom Steele”).
Commencing in the early 20th century, the tune has also become a favorite of accordion players and was recorded in New York in 1921 by Peter J. Conlon (c. 1892-1967). Later, accordion players Michael Grogan, Tony McMahon, Johnny Connolly, John Whelan, Michael Sexton and Joe Derrane all recorded the hornpipe. A slowed down and somewhat altered version of the melody was used as an air for a song also called “The Scholar” written in 1979 by poet and songwriter Thom Moore, performed by Maura O'Connell, Mark Black and others [1].
