Annotation:Peter Street (1): Difference between revisions

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{{TuneAnnotation

|f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Peter_Street_(1) >

|f_annotation='''PETER STREET [1]''' (Sráid Phaedair/Peadair). AKA – “[[Peter Street Lasses]]," [[Sweet Peter Street]].” AKA and see “[[Babes in the Woods (3)]],” “[[Blackling Races]],” “[[Blanchland Races]],” "[[Favorite Dance--as danced at Peter Street (A)]]," "[[McGregor's Reel]]," "[[Miller's Frolics (2)]]," "[[Mudville Frolic]]," "[[Timour the Tartar]]." Scottish, Irish, New England; Reel (cut time). A Major (Cole, Haverty, Miller & Perron, O'Connor, O'Neill, Spadaro): G Major (Breathnach, Eames, Robbins). Standard tuning (fiddle). AB (Cole, Haverty, O'Connor, O'Neill/1850 & 1001, Spadaro): AA'B (O'Neill/Krassen): AABB (Miller & Perron, Robbins, Sweet): AA'BB' (Breathnach). The melody is known in English and Scottish collections as “[[Timour the Tartar]]” (see note for [[Annotation:Timour the Tartar|Timour the Tartar]]) for more on the origins, which predate “Peter Street”), however, it appears in the 19th century music manuscript collection of John Burks' as “[[Blackling Races]],” perhaps a mishearing of another alternate title, "[[Blanchland Races]]." The name “Peter Street” first appears in a publications by Maurice Hime in 1809, and P. Alday c. 1815, both Dublin music publishers where it was printed in both issues as “A Favourite Dance—as danc’d at Peter Street,” a reference perhaps to Dublin's Peter Street. Peter Street in Liverpool was a notorious 19th-century red-light district, which may have contributed something to the later popularity of that name. The reel "Peter Street" appears in a repertoire list brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). John Hartford thinks the tune hints of "[[Olive Branch Hornpipe]]" (or perhaps, more correctly, vice-versa).

|f_annotation='''PETER STREET [1]''' (Sráid Phaedair/Peadair). AKA – “[[Peter Street Lasses]]," [[Sweet Peter Street]].” AKA and see “[[Babes in the Woods (3)]],” “[[Blackling Races]],” “[[Blanchland Races]],” "[[Favorite Dance--as danced at Peter Street (A)]]," "[[McGregor's Reel]]," "[[Miller's Frolics (2)]]," "[[Mudville Frolic]]," "[[Timour the Tartar]]." Scottish, Irish, New England; Reel (cut time). A Major (Cole, Haverty, Miller & Perron, O'Connor, O'Neill, Spadaro): G Major (Breathnach, Eames, Robbins). Standard tuning (fiddle). AB (Cole, Haverty, O'Connor, O'Neill/1850 & 1001, Spadaro): AA'B (O'Neill/Krassen): AABB (Miller & Perron, Robbins, Sweet): AA'BB' (Breathnach). The melody is known in English and Scottish collections as “[[Timour the Tartar]]” (see note for [[Annotation:Timour the Tartar|Timour the Tartar]]) for more on the origins, which predate “Peter Street”), however, it appears in the 19th century music manuscript collection of John Burks' as “[[Blackling Races]],” perhaps a mishearing of another alternate title, "[[Blanchland Races]]."

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The name “Peter Street” first appears in a publications by Maurice Hime in 1809, and P. Alday c. 1815, both Dublin music publishers where it was printed in both issues as “A Favourite Dance—as danc’d at Peter Street,” a reference perhaps to Dublin's Peter Street. The Royal Amphitheatre, Peter Street, was a venue built by Phillip Astley for his circus, the first in Ireland (Astley also had similar venues in London and Edinburgh) which operated from 1789 to 1812. In addition, the stage was used for plays, musical theater and ballets. Tom Cooke's (1783-1848) pantomime '''The Marriage of Peleus and Thetis; or, Harlequin Paris''' was staged there in 1802 and relied heavily on traditional Irish dance tunes for its overture and content. Due east, across the Irish Sea, Peter Street in Liverpool was a notorious 19th-century red-light district, which may have contributed something to the later popularity of that name. The reel "Peter Street" appears in a repertoire list brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). John Hartford thinks the tune hints of "[[Olive Branch Hornpipe]]" (or perhaps, more correctly, vice-versa).

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 {{TuneAnnotation
 |f_tune_annotation_title= https://tunearch.org/wiki/Annotation:Peter_Street_(1) >
-|f_annotation='''PETER STREET [1]''' (Sráid Phaedair/Peadair). AKA – “[[Peter Street Lasses]]," [[Sweet Peter Street]].” AKA and see “[[Babes in the Woods (3)]],” “[[Blackling Races]],” “[[Blanchland Races]],” "[[Favorite Dance--as danced at Peter Street (A)]]," "[[McGregor's Reel]]," "[[Miller's Frolics (2)]]," "[[Mudville Frolic]]," "[[Timour the Tartar]]." Scottish, Irish, New England; Reel (cut time). A Major (Cole, Haverty, Miller & Perron, O'Connor, O'Neill, Spadaro): G Major (Breathnach, Eames, Robbins). Standard tuning (fiddle). AB (Cole, Haverty, O'Connor, O'Neill/1850 & 1001, Spadaro): AA'B (O'Neill/Krassen): AABB (Miller & Perron, Robbins, Sweet): AA'BB' (Breathnach). The melody is known in English and Scottish collections as “[[Timour the Tartar]]” (see note for [[Annotation:Timour the Tartar|Timour the Tartar]]) for more on the origins, which predate “Peter Street”), however, it appears in the 19th century music manuscript collection of John Burks' as “[[Blackling Races]],” perhaps a mishearing of another alternate title, "[[Blanchland Races]]."  The name “Peter Street” first appears in a publications by Maurice Hime in 1809, and P. Alday c. 1815, both Dublin music publishers where it was printed in both issues as “A Favourite Dance—as danc’d at Peter Street,” a reference perhaps to Dublin's Peter Street. Peter Street in Liverpool was a notorious 19th-century red-light district, which may have contributed something to the later popularity of that name. The reel "Peter Street" appears in a repertoire list brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). John Hartford thinks the tune hints of "[[Olive Branch Hornpipe]]" (or perhaps, more correctly, vice-versa).
+|f_annotation='''PETER STREET [1]''' (Sráid Phaedair/Peadair). AKA – “[[Peter Street Lasses]]," [[Sweet Peter Street]].” AKA and see “[[Babes in the Woods (3)]],” “[[Blackling Races]],” “[[Blanchland Races]],” "[[Favorite Dance--as danced at Peter Street (A)]]," "[[McGregor's Reel]]," "[[Miller's Frolics (2)]]," "[[Mudville Frolic]]," "[[Timour the Tartar]]." Scottish, Irish, New England; Reel (cut time). A Major (Cole, Haverty, Miller & Perron, O'Connor, O'Neill, Spadaro): G Major (Breathnach, Eames, Robbins). Standard tuning (fiddle). AB (Cole, Haverty, O'Connor, O'Neill/1850 & 1001, Spadaro): AA'B (O'Neill/Krassen): AABB (Miller & Perron, Robbins, Sweet): AA'BB' (Breathnach). The melody is known in English and Scottish collections as “[[Timour the Tartar]]” (see note for [[Annotation:Timour the Tartar|Timour the Tartar]]) for more on the origins, which predate “Peter Street”), however, it appears in the 19th century music manuscript collection of John Burks' as “[[Blackling Races]],” perhaps a mishearing of another alternate title, "[[Blanchland Races]]."
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+The name “Peter Street” first appears in a publications by Maurice Hime in 1809, and P. Alday c. 1815, both Dublin music publishers where it was printed in both issues as “A Favourite Dance—as danc’d at Peter Street,” a reference perhaps to Dublin's Peter Street. The Royal Amphitheatre, Peter Street, was a venue built by Phillip Astley for his circus, the first in Ireland (Astley also had similar venues in London and Edinburgh) which operated from 1789 to 1812. In addition, the stage was used for plays, musical theater and ballets. Tom Cooke's (1783-1848) pantomime '''The Marriage of Peleus and Thetis; or, Harlequin Paris''' was staged there in 1802 and relied heavily on traditional Irish dance tunes for its overture and content.  Due east, across the Irish Sea, Peter Street in Liverpool was a notorious 19th-century red-light district, which may have contributed something to the later popularity of that name. The reel "Peter Street" appears in a repertoire list brought by Philip Goodman, the last professional and traditional piper in Farney, Louth, to the Feis Ceoil in Belfast in 1898 (Breathnach, 1997). John Hartford thinks the tune hints of "[[Olive Branch Hornpipe]]" (or perhaps, more correctly, vice-versa).
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