Annotation:Souvenir de Venice: Difference between revisions
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''a concert, he deliberately cut his violin strings and said 'Veree story, veree story, madam, you see I can no play.' '' | ''a concert, he deliberately cut his violin strings and said 'Veree story, veree story, madam, you see I can no play.' '' | ||
</blockquote> | </blockquote> | ||
It is somewhat ironic that his lasting musical fame appears to be in this reel and “[[Ostinelli's Reel]],” printed in '''Ryan’s Mammoth Collection'''/'''Cole’s 1000''', for many years the primary texts for those “vernacular” fiddlers in the United States. Ostinelli’s variations on "Souvenir de Venice" are often used in modern times as a finale to “[[Banks Hornpipe | It is somewhat ironic that his lasting musical fame appears to be in this reel and “[[Ostinelli's Reel]],” printed in '''Ryan’s Mammoth Collection'''/'''Cole’s 1000''', for many years the primary texts for those “vernacular” fiddlers in the United States. Ostinelli’s variations on "Souvenir de Venice" are often used in modern times as a finale to “[[Banks Hornpipe]].” | ||
|f_printed_sources=Cole (1000 Fiddle Tunes), 1940; p. 109. Ryan’s Mammoth Collection, 1883; p. 147. | |f_printed_sources=Cole (1000 Fiddle Tunes), 1940; p. 109. Ryan’s Mammoth Collection, 1883; p. 147. | ||
|f_recorded_sources=Compass Records 7 4446 2, Oisíin McAuley – “From the Hills of Donegal” (2007). | |f_recorded_sources=Compass Records 7 4446 2, Oisíin McAuley – “From the Hills of Donegal” (2007). | ||
}} | }} | ||
Revision as of 19:49, 8 September 2021
X:1 T:Souvenir de Venice M:2/4 L:1/8 R:Hornpipe S:Ryan’s Mammoth Collection (1883) Z:AK/Fiddler’s Companion K:Eb B, | E2 G/>G/ (3B/G/.E/ | D2 F/>F/ (3A/F/.D/ | C/>D/E/>F/ G2 | F/>G/F/>D/ D/>C/B,/>A,/ | G,(B B)c/>G,/ | A,(c c)e/>E/ | D/>E/F/>G/ A/>F/D/>F/ |1 (3E/G/.B/ (3A/F/.D/ E :|2 (3E/G/.B/ (3A/F/.D/ Ez || |: ge e/>gb/>g/ | fd d/>f/b/>d/ | ec ca/>g/ | f/>e/d/>c/ B/>A/G/>F/ | E/D/ (f2 g/>)D/ | E(g g)b/>B/ | =A/>B/c/>d/ e/>c/A/>c/ | (3B/d/.f (3e/c/.=A/ B/>_A/G/>F/ | E/>G/B/>G/ e/>B/G/>E/ | D/>F/B/>F/ d/>F/E/>D/ | C/>D/E/>C/ A/>G/F/>E/ | D/>E/F/>E/ D/>C/B,/>A,/ | G,/B,/E/G/ A,/C/F/A/ | B,/E/G/B/ C/F/A/c/ | B/>e/d/>c/ B/>A/G/>F/ | (3E/G/.B/ (3A/F/.D/ Ez :: g/e/B/G/ E/g/f/=e/ | f/d/B/F/ D/f/e/d/ | e/c/G/E/ C/e/d/c/ | d/B/F/D/ B,/>C/B,/>A,/ | G,/B,/e/g/ A,/C/F/A/ | B,/E/G/B/ C/F/A/c/ | B/>e/d/>c/ B/>A/G/>F/ | (3E/G/.B/ (3A/F/.D/ E :|
SOUVENIR DE VENICE. American?, Italian?; Hornpipe (2/4 time). E Flat Major. Standard tuning (fiddle). AABBCC. This melody (which is similar to the “Banks Hornpipe”) was composed by a popular late 19th century stage violinist named Louis/Lewis Ostinelli, an Italian who arrived in Boston in the year 1818. Michael Broyles references the musician in his book Music of the Highest Class: Elitism and Populism in Antebellum Boston:
He was keenly aware of the reputation the violin had as a vernacular instrument in New England. According to several anecdotes, he was furious when his violin was referred to as a fiddle or when he was requested to play dance music. Once when asked by a lady if he was to play for a dance following a concert, he deliberately cut his violin strings and said 'Veree story, veree story, madam, you see I can no play.'
It is somewhat ironic that his lasting musical fame appears to be in this reel and “Ostinelli's Reel,” printed in Ryan’s Mammoth Collection/Cole’s 1000, for many years the primary texts for those “vernacular” fiddlers in the United States. Ostinelli’s variations on "Souvenir de Venice" are often used in modern times as a finale to “Banks Hornpipe.”
