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Revision as of 14:40, 19 April 2024

The "Larry O'Gaff" title for the tune comes from a nonsensical stage-Irish song whose words are only rarely reported (they can be found in a folk version in Creighton's Songs and Ballads from Nova Scotia), and it appears the melody normally was used as an instrumental piece. The tune/song is firmly ensconced in the late minstrel/early vaudeville stage.

It is usually associated with Northeastern players in the United States. The older title was probably "Hob or Nob" posits Bayard (1981), which was the title of an old British dance.

However, as far back as 1840 it was entered into the music manuscript book of Cumbrian musician John Rook as "Larry O'Gaff is the boy" a title that seems associated with Samuel Lover's (1797–1868) comic piece called "Larry O'Gaff", which begins:

Larry O'Gaff was a brave boy for marching,
His instep was larege--but his income was small;
So he set up, one day, as a soldier of fortune--
The meaning of which is--no fortune at all.
In battles, bombardments and sieges he grew up,
Till he didn't much care if towns flourish'd or blew up,
And his maxims in life--for he pick'd one or two up--
Were short, sweet and simple for Larry O'Gaff.

Bronner (1987) suggests a connection with "Campbells are Coming (1) (The)" and "Miss McLeod's Reel (1)," which his source (central N.Y. fiddler Les Weir) also called "Hob or Knob".

...more at: Larry O'Gaff - full Score(s) and Annotations

Larry O' Gaff (1)

@@ Line 1: / Line 1: @@
 {{SheetMusic
-|f_track=Jean de Paris Overture.mp3
+|f_track=Larry O'Gaffs.mp3
-|f_pdf=John of Paris.pdf
+|f_pdf=Larry O'Gaff.pdf
-|f_artwork=Léon_Riesener_-_Portrait_de_François-Adrien_Boieldieu.jpg
+|f_artwork=Samuel_lover.jpg
-|f_tune_name=John of Paris
+|f_tune_name=Larry O'Gaff
-|f_track_title=John of Paris
+|f_track_title=Larry_O' Gaff_(1)
 |f_section=abc
-|f_played_by=[https://www.youtube.com/channel/UCQ92AnH2_pgr0e9HTZQeYGQ Orchestra della Svizzera Italiana]
+|f_played_by=[https://soundcloud.com/trad-tune-collection Fionnlagh Ballantine]
-|f_notes=Léon Riesener - Portrait de François-Adrien Boieldieu
+|f_notes=Samuel Lover (24 February 1797 – 6 July 1868), also known as "Ben Trovato"
-|f_caption=The girls go by and they wink one eye,{{break}}
+|f_caption=Larry O'Gaff was a brave boy for marching, {{break}}
-It's will you marry me? No, not I;{{break}}
+His instep was larege--but his income was small;{{break}}
-I'm ninety-five, I'm ninety five,{{break}}
+So he set up, one day, as a soldier of fortune--{{break}}
-And to stay single I'll contrive.{{break}}
+The meaning of which is--no fortune at all.{{break}}
-|f_source=[https://www.youtube.com/watch?v=7ns3mDWmFIM Youtube]
+|f_source=[https://soundcloud.com/trad-tune-collection/jig-larry-ogaffs-jig Soundcloud]
 |f_pix=420
 |f_picpix=200
-|f_article=[[John of Paris | '''John of Paris''']]
+|f_article=[[Larry_O' Gaff_(1) | '''Larry O'Gaff''']]
-'''Jean de Paris''' is the title of a French comic opera with music by François Adrien Boieldieu (1775-1834), 'The French Mozart', first performed in Paris in 1812, and the connection between the march and the opera was recently uncovered in a masterly job of sluthing, recorded the 2/95 Rifles Forum [http://2nd95thrifles.wonko.myfastforum.org/about389.html&view=previous], from which the following information is derived.
+The "Larry O'Gaff" title for the tune comes from a nonsensical stage-Irish song whose words are only rarely reported (they can be found in a folk version in Creighton's '''Songs and Ballads from Nova Scotia'''), and it appears the melody normally was used as an instrumental piece. The tune/song is firmly ensconced in the late minstrel/early vaudeville stage.
-<br>
-<br>
-In 1814 Europe was finally at peace; Napoleon had been exiled to Elba, and the English once again could enjoy French culture.
-The opera "Jean de Paris" was exported to London, where an adaptation, with music composed by Charles Horn and Samuel Arnold, was staged at Drury Lane Theatre.
+It is usually associated with Northeastern players in the United States. The older title was probably "[[Hob or Nob]]" posits Bayard (1981), which was the title of an old British dance.
-It was not a success, despite prodigious talents of the composers. The '''New Monthly Magazine''' (vol. 1, 1814, p. 443), warned its readers:
+However, as far back as 1840 it was entered into the music manuscript book of Cumbrian musician John Rook as "Larry O'Gaff is the boy" a title that seems associated with Samuel Lover's (1797–1868) comic piece called "Larry O'Gaff", which begins:
 <blockquote>
-''If the success of this piece is adduced as an instance of public taste, we shall be under the'' ''necessity of wishing that our theatres were completely closed, and their companies disbanded to'' ''follow a better occupation.''
+''Larry O'Gaff was a brave boy for marching,''<Br>
+''His instep was larege--but his income was small;''<Br>
+''So he set up, one day, as a soldier of fortune--''<Br>
+''The meaning of which is--no fortune at all.''<Br>
+''In battles, bombardments and sieges he grew up,''<Br>
+''Till he didn't much care if towns flourish'd or blew up,''<Br>
+''And his maxims in life--for he pick'd one or two up--''<Br>
+''Were short, sweet and simple for Larry O'Gaff.''<Br>
 </blockquote>
-However, a rival adaptation of the French opera was being performed at the same time at the Theatre Royal Covent Garden (Nov., 1814), a two-act comic opera "composed and partly selected from the original...by Isaac Pocock, composed and adapted for the English stage by Henry R. Bishop, Composer and Director of music to the Theatre Royal."
+Bronner (1987) suggests a connection with "[[Campbells are Coming (1) (The)]]" and "[[Miss McLeod's Reel (1)]]," which his source (central N.Y. fiddler Les Weir) also called "[[Hob or Nob|Hob or Knob]]".
-The march was found in Act ii, as a "Pastoral Dance." Pocock's and Bishop's version of "John of Paris" did not fare particularly well, either, with the '''Works of Sir Henry Bishop''' reporting that Boieldieu's "pretty Overture is omitted, which a dozen uninteresting numbers by Bishop are inserted...", the exception being the tune that became known in England as "John of Paris."
 }}