Annotation:Ostinelli's Reel: Difference between revisions

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OSTINELLI'S REEL. AKA - "Austin's," "Ostinella Hornpipe/Ostinella Reel." American, Reel or Hornpipe. A Major. Standard tuning (fiddle). AABB. This melody is named for 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 thus somewhat ironic that his lasting musical fame appears to be in this reel and "Souvenier de Venice Hornpipe," 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 Reel" has some currency among modern Texas-style players after being included in the repertoire of influential fiddler Benny Thomasson, among others. John Hartford finds that a melodic fragment appears as a part in the tune "Grey Eagle." Parts of the melody shift into third position on the violin. As an example of how tune titles can become garbled in oral transmission, it appears on a recording by Timmy Cronin under the title "Austin's."

Source for notated version: "Recollections of a Busy Life", a 1938 typewritten manuscript by New Hampshire fiddler John Taggart (1854-1943), entitled "Recollections of a Busy Life" (New Hampshire Historical Society, Concord, N.H.). Taggart wrote in his ms. that the tunes "were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity" [Miller]. Miller points out that Sharon is in "the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day" (pref. iv) [Miller]; New Hampshire Fiddlers' Union [Phillips]; New York fiddler John McGrath (d. 1955) [O'Malley]; Tyler Hagood [Silberberg].

Printed sources: Cole (1000 Fiddle Tunes), 1940; p. 41. Howe (1000 Jigs and Reels), c. 1867; p. 59. Miller (Fiddler's Throne), 2004; No. 226, p. 138. O'Malley (Luke O'Malley's Collection of Irish Music), 1976; No. Phillips (Traditional American Fiddle Tunes, vol. 2), 1995; p. 214. Ryan's Mammoth Collection, 1883; p. 67. Silberberg (93 Fiddle Tunes I Didn't Learn at the Tractor Tavern), 2004; p. 34. White's Unique Collection, 1896; No. 143, p. 25.

Recorded sources: Fiddler FRLP001, Tom Doucet (Nova Scotia/eastern Mass.) - "The Down East Star." New Hampshire Fiddler's Union, Miller & Peery - "The Music of John Taggart" (1989).

See also listing at:
Jane Keefer's Folk Music Index: An Index to Recorded Sources []

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-OSTINELLI'S REEL. AKA - "Austin's," "Ostinella Hornpipe/Reel." American, Reel or Hornpipe. A Major. Standard tuning (fiddle). AABB. This melody is named for 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:
+OSTINELLI'S REEL. AKA - "[[Austin's]]," "[[Ostinella Hornpipe]]/[[Ostinella Reel]]." American, Reel or Hornpipe. A Major. Standard tuning (fiddle). AABB. This melody is named for 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''':
-***
+<blockquote>
-He was keenly aware of the reputation the violin had as a
+''He was keenly aware of the reputation the violin had as a ''
-vernacular instrument in new England. According to several
+''vernacular instrument in new England. According to several''
-anecdotes, he was furious when his violin was referred to as
+''anecdotes, he was furious when his violin was referred to as ''
-a fiddle or when he was requested to play dance music. Once
+''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
+''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
+''a concert, he deliberately cut his violin strings and said 'Veree''
-story, veree story, madam, you see I can no play.'
+''story, veree story, madam, you see I can no play.' ''
-***
+</blockquote>
-It is thus somewhat ironic that his lasting musicial fame appears to be in this reel and "Souvenier de Venice Hornpipe," printed in Ryan's Mammoth Collection/Cole's 1000, for many years the primary texts for those "venacular" fiddlers in the United States. "Ostinelli's Reel" has some currency among modern Texas-style players after being included in the repertoire of influential fiddler Benny Thomasson, among others. John Hartford finds that a melodic fragment appears as a part in the tune "Grey Eagle." Parts of the melody shift into third postition on the violin. As an example of how tune titles can become garbled in oral transmission, it appears on a recording by Timmy Cronin under the title "Austin's." Sources for notated versions: "Recollections of a Busy Life", a 1938 typewritten manuscript by New Hampshire fiddler John Taggart (1854-1943), entitled "Recollections of a Busy Life" (New Hampshire Historical Society, Concord, N.H.). Taggart wrote in his ms. that the tunes "were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity" [Miller]. Miller points out that Sharon is in "the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day" (pref. iv) [Miller]; New Hampshire Fiddlers' Union [Phillips]; New York fiddler John McGrath (d. 1955) [O'Malley]; Tyler Hagood [Silberberg].
+It is thus somewhat ironic that his lasting musical fame appears to be in this reel and "[[Souvenier de Venice Hornpipe]]," 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 Reel" has some currency among modern Texas-style players after being included in the repertoire of influential fiddler Benny Thomasson, among others. John Hartford finds that a melodic fragment appears as a part in the tune "[[Grey Eagle]]." Parts of the melody shift into third position on the violin. As an example of how tune titles can become garbled in oral transmission, it appears on a recording by Timmy Cronin under the title "Austin's."
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 <p><font face="garamond, serif" size="4">
-''Source for notated version'':
+''Source for notated version'': "Recollections of a Busy Life", a 1938 typewritten manuscript by New Hampshire fiddler John Taggart (1854-1943), entitled "Recollections of a Busy Life" (New Hampshire Historical Society, Concord, N.H.). Taggart wrote in his ms. that the tunes "were all taught me during my boyhood days in Sharon (N.H.), by the various fiddlers in that vicinity" [Miller]. Miller points out that Sharon is in "the heart of the Monadnock Region of southwestern New Hampshire, where fiddlers and contra dances abound to this day" (pref. iv) [Miller]; New Hampshire Fiddlers' Union [Phillips]; New York fiddler John McGrath (d. 1955) [O'Malley]; Tyler Hagood [Silberberg].
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