Re: [scots-l] auld sang line\Rory Dall

2000-12-17 Thread Rob MacKillop

The Straloch version and Oswald version are two entirely different pieces
with no connection whatsoever. I recorded the Straloch ports - 5 of them -
on 'Flowers of the Forest'. Oswald must have heard of an old piece, thought
lost, and tried to summon it out of the 'air', so to speak.  For a harp
player, playing both pieces back to back would be fun. Somewhere at the back
of my mind I remember Bill Taylor talking about two Rorie Dall's, one a
Morrison, I forget the other. Can anyone clear this up?

Great website, Bruce. I have transcribed 'Hallow My Fancy' and will put it
on my website soon, along with a few versions of Auld Lang Syne.

Rob
[EMAIL PROTECTED]
http://www.robmackillop.com


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Re: [scots-l] auld sang line\Rory Dall

2000-12-17 Thread Bruce Olson

Rob MacKillop wrote:
 
 The Straloch version and Oswald version are two entirely different pieces
 with no connection whatsoever. I recorded the Straloch ports - 5 of them -
 on 'Flowers of the Forest'. Oswald must have heard of an old piece, thought
 lost, and tried to summon it out of the 'air', so to speak.  For a harp
 player, playing both pieces back to back would be fun. Somewhere at the back
 of my mind I remember Bill Taylor talking about two Rorie Dall's, one a
 Morrison, I forget the other. Can anyone clear this up?
 
 Great website, Bruce. I have transcribed 'Hallow My Fancy' and will put it
 on my website soon, along with a few versions of Auld Lang Syne.
 
 Rob


Thanks for "Hallow my Fancy". I'll be looking forward to seeing it, and
if the songs I have to the tune will fit it. They're all English,
though.

Sorry, I didn't read the entry in my own Scots tune index, where
it's plainly noted the Straloch and Oswald's piece are
different.

David Johnson, 'Scottish Fiddle Music', (#22) 2nd ed., 1997 gives
Oswald's tune from his 'Collection of Scot's Tunes with
Variations' [p. 30, "A Highland Port by Rory Dall", copy in
Library of Congress], with Johnson's title from CPC, bk. viii (c
1756). On p. 64 he suggested Scots Rory Dall Morison or Irish
Rory Dall O Cathain as composer, but added: "However, the piece
is almost certainly all Oswald's own work." [Estimated dates for
Oswald's 'Collection of Scots tunes with Variations' that I've
seen range from 1755 to 1765. There are 37 tunes plus a 'Giga' in
this. BUCEM calls Oswald's 'A Collection of 43 Scots Tunes with
Variations' another issue of this, but the number of tunes and
their estimated date of c 1790 make no sense. Needless to say,
I've never seen this latter.]

John Glen, 'Early Scottish Melodies', (SMM #347- "Ae fond kiss")
says the tune was called "Rosey Doll" in Walsh's 'Country Dances
Selected', (1760) but this is almost surely later than Oswald's
CPC publication of it. 
 
Johnson says Scots Morison worked in the Highlands in the early
18th century, and Irish O'Cathain visited Scotland in the early
17th century. Edw. Bunting, in his 1840 Irish collection, took
Morison and O'Cahan to be the same person. 

Bruce Olson
-- 
Old English, Irish and, Scots: popular songs, tunes, broadside
ballads at my website (no advs-spam, etc)- www.erols.com/olsonw
or click below  A href="http://www.erols.com/olsonw" Click /a
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RE: [scots-l] The King's House Shock

2000-12-17 Thread Ted Hastings

Yes, but they're not suitable for a family list.

Regards,

Ted

 -Original Message-
 From: Stuart Eydmann [mailto:[EMAIL PROTECTED]]
 Sent: 17 December 2000 22:27
 To: [EMAIL PROTECTED]
 Subject: Re: [scots-l] The King's House Shock


 Derek Hoy wrote previously:


 Acting on the advice of the venerable Nigel Gatherer, I informed
 our record
 publisher that The King's House was copyright B. Macleod.  But PPS
 (Phonographic Performance Society ???) who know about these things, deny
 this.

 So it's trad, according to them.  The controversy rages on.

 __



 I met Derek at a party earlier this evening where I was relating
 tales from
 the Whistlebinkies' recent visit to Memphis. I happened to mention that
 while there we spent some considerable time paying homage at the King's
 house, Graceland. After a few glasses of red we thought... well. Elvis
 bought his new home in early 1957 which is just about the same time that
 some would say Bobby Macleod was at his composing and playing peak, Bobby
 introduced swing into Scottish dance music and so the background
 to the tune
 is now quite clear - it was composed in honour of the one and
 only King. Any
 thoughts on this theory?

 Stuart Eydmann

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