Annotation:Peter Street (1): Difference between revisions

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|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 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, more correctly, vice-versa~~).

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. Hime's 1809 publication is the earliest found to date that contains the melody.

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).

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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 information), 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 melody is sometimes known in English and Scottish collections as “[[Timour the Tartar]]” (see note for [[Annotation:Timour the Tartar|Timour the Tartar]]) for more information), 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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"Peter Street" seems to have enjoyed some former popularity for contra dancing. An early version (as "Peter Street") appears in the music manuscript collection of musician M.E. Eames, frontispiece dated Aug. 22nd, 1859. Nothing is known of the fiddler, although some tune titles in his manuscript suggest Philadelphia, Pa., associations. It was entered as an untitled tune into in the Woburn (Mass.) Fife Manuscript, a ms. collection inscribed with the the name Seth Johnson and "Woburn. April 20th day, 1807. I Bought this Book, 5:3." Entries were made between 1807 and as late as 1840. "Peter Street" probably gained popularity for contra dancing through its appearance in several of Boston publisher Elias Howe's publications.

"Peter Street" seems to have enjoyed some former popularity for contra dancing. An early version (as "Peter Street") appears in the music manuscript collection of musician M.E. Eames, frontispiece dated Aug. 22nd, 1859. Nothing is known of the fiddler, although some tune titles in his manuscript suggest Philadelphia, Pa., associations. It was entered as an untitled tune into in the Woburn (Mass.) Fife Manuscript, a ms. collection inscribed with the the name Seth Johnson and "Woburn. April 20th day, 1807. I Bought this Book, 5:3." Entries were made between 1807 and as late as 1840. "Peter Street" probably gained popularity for contra dancing through its appearance in several of Boston publisher Elias Howe's publications. John Hartford thinks the tune hints of "[[Olive Branch Hornpipe]]" (or, more correctly, vice-versa).

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 |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 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, more correctly, vice-versa).
+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. Hime's 1809 publication is the earliest found to date that contains the melody.
+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).
 <br>
 <br>
-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 information), 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 melody is sometimes known in English and Scottish collections as “[[Timour the Tartar]]” (see note for [[Annotation:Timour the Tartar|Timour the Tartar]]) for more information), 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]]."
 <br>
 <br>
-"Peter Street" seems to have enjoyed some former popularity for contra dancing. An early version (as "Peter Street") appears in the music manuscript collection of musician M.E. Eames, frontispiece dated Aug. 22nd, 1859. Nothing is known of the fiddler, although some tune titles in his manuscript suggest Philadelphia, Pa., associations. It was entered as an untitled tune into  in the Woburn (Mass.) Fife Manuscript, a ms. collection inscribed with the the name Seth Johnson and "Woburn. April 20th day, 1807. I Bought this Book, 5:3." Entries were made between 1807 and as late as 1840. "Peter Street" probably gained popularity for contra dancing through its appearance in several of Boston publisher Elias Howe's publications.
+"Peter Street" seems to have enjoyed some former popularity for contra dancing. An early version (as "Peter Street") appears in the music manuscript collection of musician M.E. Eames, frontispiece dated Aug. 22nd, 1859. Nothing is known of the fiddler, although some tune titles in his manuscript suggest Philadelphia, Pa., associations. It was entered as an untitled tune into  in the Woburn (Mass.) Fife Manuscript, a ms. collection inscribed with the the name Seth Johnson and "Woburn. April 20th day, 1807. I Bought this Book, 5:3." Entries were made between 1807 and as late as 1840. "Peter Street" probably gained popularity for contra dancing through its appearance in several of Boston publisher Elias Howe's publications. John Hartford thinks the tune hints of "[[Olive Branch Hornpipe]]" (or, more correctly, vice-versa).
 <br>
 <br>