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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=Roslin Castle.mp3
+|f_track=Leo Rowsome - St Patrick's Day.mp3
-|f_pdf=Roslin Castle.pdf
+|f_pdf=St.Patricks Day.pdf
-|f_artwork=Roslin.jpg
+|f_artwork=Irish brigade.jpg
-|f_tune_name=Roslin Castle
+|f_tune_name=St. Patrick's Day
-|f_track_title=Roslin_Castle
+|f_track_title=St. Patrick's Day
-|f_section=abc
+|f_section=X11
-|f_played_by=[https://soundcloud.com/robmackillop Rob MacKillop]
+|f_played_by=[https://open.spotify.com/artist/5ZIhbzIF7v2lYvU6Xoogn6?si=rKsfUZJNTBm2ULon6nJQOQ Leo Rowsome]
-|f_notes= Roslin Castle, Midlothian.
+|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 tune was the melody most often associated with funerals during the Revolution, and notes that legend has it that it was played by Scottish bagpipers stationed in New York at the time, in honor of the castle at Roslyn, Midlothian, Scotland.
+|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/robmackillop/20-roslin-castle Soundcloud]
+|f_source=[https://open.spotify.com/track/1sCZEFYWr8558PJQy2Y9PH?si=54e4302356dd4aa3 Spotify]
 |f_pix=420
 |f_picpix=200
-|f_article=[[Roslin_Castle | '''Roslin Castle''']]
+|f_article=[[St. Patrick's Day | '''St. Patrick's Day''']]
-Rosyln Castle does in fact exist in Angus, Scotland, and has since the early 14th century (c. 1304), when it was built by Sir William St. Clair soon after the Battle of Rosslyn, when, as part of the Scottish War of Independence, the English army of Edward I was decimated by the Scots.
+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 is a castle of the rock and waterfall, lying high above the north bank of the River Esk a few miles south-west of Edinburgh, and features a small but magnificent chapel founded in 1446 by the Earl of Orkney and Roslin.
+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.
-Added to through the years, it survived two fires but was ultimately destroyed by Cromwell's troops in 1650. The heyday of the edifice was in the 14th and 15th centuries, where it has been likened to a 'Camelot' of the era.
+'''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]]."
-Neil (1991) remarks "It is on record that one of the princesses of the castle had 75 ladies-in-waiting and 53 of them were also members of the nobility, all of whom were beautifully dressed in gowns of velvet and silk and who also wore gold and other jewels.
+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.
-When this princess traveled to her house in Edinburgh, she was accompanied by 200 men on horseback and, if at night, by a further 80 carrying torches.
+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.
-There is also the legend that the castle is haunted by the "Sleeping Lady" who guards a vast treasure. If awakened by the sound of a trumpet, to be heard in the lower apartments, she will appear and reveal the treasure, whereupon the castle would rise from its ruins to its former glory."
+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.
 }}