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{{SheetMusic
{{SheetMusic
|f_track=Killiecrankie.mp3
|f_track=Mr Isaacs Maggot.mp3
|f_pdf=Killiecrankie.pdf
|f_pdf=Mr Isaac.pdf
|f_artwork=Lochiel's_charge_at_Killycrankie.jpg
|f_artwork=Mr-isaac.jpg
|f_tune_name=Killiecrankie
|f_tune_name=Mr. Isaac’s Maggot
|f_track_title=Killiecrankie_(1)
|f_track_title=Mr._Isaac’s_Maggot
|f_section=abc
|f_section=abc
|f_played_by=[https://soundcloud.com/natalie-macmaster Natalie McMaster]
|f_played_by=[https://soundcloud.com/auburn_witch Auburn Witch]
|f_notes= The charge of the Cameron Jacobite forces at the Battle of Killiecrankie.
|f_notes= Mr. Isaac, painted by Louis Goupy. The original portrait is lost, but this engraving of it by George White was published in the early 18th century.
|f_caption=The title commemorates the famous Battle of Killiecrankie, Perthshire, in 1689 between the Highland forces led by Claverhouse in support of the Catholic King James II, and the Protestant Major-General Hugh Mackay, leader of the army of William III (although composed primarily of Lowland Scots).
|f_caption=Dance researcher Moira Goff has discovered that "Mr. Isaac" was in fact a Royal dancing master named Francis Thorpe, offering as proof the will of his uncle, Jerome Gahory, who previously occupied the post of Royal dancing master.
|f_source=[https://soundcloud.com/natalie-macmaster/killiecrankie Soundcloud]  
|f_source=[https://soundcloud.com/auburn_witch/mr-isaacs-maggot Soundcloud]  
|f_pix=420  
|f_pix=420  
|f_picpix=200
|f_picpix=200
|f_article=[[Killiecrankie_(1) | '''Killiecrankie''']]
|f_article=[[Mr._Isaac’s_Maggot | '''Mr. Isaac’s Maggot''']]


The name Killiecrankie is derived from the Gaelic root word coille, meaning a wood, coupled with 'crankie,' which refers to aspens; thus the phrase means 'wood of the aspens' (Matthews, 1972).  
Sixteenth and seventeenth century country dance tunes sometimes had the word "maggot" in their titles, perhaps derived from Italian ''Maggiolatta'' or Italian May song, but used in England to mean a whim, fancy, plaything, 'trifle'--essentially an 'earworm'<ref>Emmerson (1972) states that maggot derives from the Italian ''maggioletta'', which he translates as a 'plaything', but what his source is for this translation is unknown.</ref>.  


Johnson (1983) states it was later renamed after another (different) battle called Tranent Muir, East Lothian, fought in 1745 {which battle is usually known as the Battle of Prestonpans}. He suggests on stylistic reasons that the tune may be the surviving opening for a battle pibroch (see "Highland Battle, A"), although no other parts have come down. The tune, as "Keel Cranke" was published by Henry Playford in his 1700 collection of Scottish tunes (Original Scots Tunes), however, the earliest printing of the song appears to be in the Leyden Manuscript of c. 1692, according to John Glen (Early Scottish Melodies).
A ''maggot'' was also another name for a dram, a small unit of liquid measure. This anonymous melody dates to 1695, when it first appeared in Playford's '''Dancing Master''', 9th edition. The dance and tune were retained in the long running series through the 18th and last volume, then published by John Young, heir to the Playford publishing concern. It also was included by the Walsh's (father and son) in their '''Compleat Country Dancing Master''', editions of 1718, 1735 and 1754. For more on Isaac see Jennifer Thorp's article "Mr. Isaac, Dancing-Master" in '''Dance Research''' - Volume 24, Number 2, Winter 2006, pp. 117-137, where, for example, she gives:
 
<blockquote>
Glen further states: "That portion of ("Killiecrankie") which is sung to the chorus is still more ancient; it forms part of the tune called "My Mistres blush is bonny" (sic) in the Skene Manuscripts" (c. 1615). Glen dates the Leyden Manuscript by its inclusion of tunes referring to 'King James March to Ireland' and the "Watter (sic) of the Boyne," a reference to the Jacobite Wars.  
''The earliest references to him as a performer in London connect him with the Stuart Court, for in April 1673 a'' ''dancer named Isaac was one of several dancers (along with Mr. Priest) who performed as Venetians, a Spaniard, a'' ''Conjuror, Devils, and Shepherds, in a masquerade for King Charles II's illegitimate son, the Duke of Monmouth.''
 
</blockquote>
As "Irish Gillycranky (The)" it is included in the Henry Atkinson manuscript of 1694/95. "Killiecrankie" was set for violin and continuo by William MacGibbon (1695-1756), and was printed by Oswald in his Caledonian Pocket Companion.
A version of "Mr. Isaac's Maggot" has been found included the '''Suite in C Major'''<ref>A recording of Plaisible's suite has been issued as Arcana Recordings A527, "The Queen's Favourites: Music for Oboe Band at the Court of Anne Stuart", performed by La Petite Ecurie. We are indebted to David Schonfeld for information on this connection. </ref> by English court composer and recorder player James Paisible (1656-1721) as an "Ornepaipe"
}}
}}

Revision as of 06:02, 9 July 2023



Dance researcher Moira Goff has discovered that "Mr. Isaac" was in fact a Royal dancing master named Francis Thorpe, offering as proof the will of his uncle, Jerome Gahory, who previously occupied the post of Royal dancing master.
Mr. Isaac’s Maggot

Played by: Auburn Witch
Source: Soundcloud
Image: Mr. Isaac, painted by Louis Goupy. The original portrait is lost, but this engraving of it by George White was published in the early 18th century.

Mr. Isaac’s Maggot

Sixteenth and seventeenth century country dance tunes sometimes had the word "maggot" in their titles, perhaps derived from Italian Maggiolatta or Italian May song, but used in England to mean a whim, fancy, plaything, 'trifle'--essentially an 'earworm'[1].

A maggot was also another name for a dram, a small unit of liquid measure. This anonymous melody dates to 1695, when it first appeared in Playford's Dancing Master, 9th edition. The dance and tune were retained in the long running series through the 18th and last volume, then published by John Young, heir to the Playford publishing concern. It also was included by the Walsh's (father and son) in their Compleat Country Dancing Master, editions of 1718, 1735 and 1754. For more on Isaac see Jennifer Thorp's article "Mr. Isaac, Dancing-Master" in Dance Research - Volume 24, Number 2, Winter 2006, pp. 117-137, where, for example, she gives:

The earliest references to him as a performer in London connect him with the Stuart Court, for in April 1673 a dancer named Isaac was one of several dancers (along with Mr. Priest) who performed as Venetians, a Spaniard, a Conjuror, Devils, and Shepherds, in a masquerade for King Charles II's illegitimate son, the Duke of Monmouth.

A version of "Mr. Isaac's Maggot" has been found included the Suite in C Major[2] by English court composer and recorder player James Paisible (1656-1721) as an "Ornepaipe"

...more at: Mr. Isaac’s Maggot - full Score(s) and Annotations


X: 1 T:Mr. Isaac's Maggot. (p)1695.PLFD1.325 M:3/2 L:1/8 Q:3/4=90 B:Playford, Dancing Master,9th Ed,1695. R:.Maggot O:England;London H:1695. Z:Chris Partington <www.cpartington.plus> K:C V:1 clef=treble name="1." [V:1] g4e4d4|cde2d2c2d2G2|G2c4B2A4|A2d4A2B2G2| g4e4d4|cde2d2c2d2G2|G2c4B2 A2fe|d2c2d2B2c4:| |:E2G4A2G4|E2G4ABc2G2|E2G4A2G4|E2G4ABc2G2| (g3f/g/)(a3g/f/)(g3f/g/)|agfe fedcd2G2|(g3f/g/)(a3g/f/)(g3 f/g/)|\ agfe defgd2c2| e4(f3e/f/)g4|cde2d2c2d2G2|e4(f3 e/f/)g4|G2c2cde2d2c2:|


  1. ↑ Emmerson (1972) states that maggot derives from the Italian maggioletta, which he translates as a 'plaything', but what his source is for this translation is unknown.
  2. ↑ A recording of Plaisible's suite has been issued as Arcana Recordings A527, "The Queen's Favourites: Music for Oboe Band at the Court of Anne Stuart", performed by La Petite Ecurie. We are indebted to David Schonfeld for information on this connection.
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