|
| DM: Clog dancing in wooden-soled shoes was very popular as stage
entertainment in the late 19th century. Sub-types included
pedestal, statue and Lancashire clogs. As Ryan's own notes
indicate, many tunes in the hornpipe section were considered
suitable for clog dancing. |
| Name |
Ryan |
Coles |
Notes |
|
|
|
|
| Bernardo's Favorite |
158 |
119 |
DM: O'Neill's Humors of Castle Bernard. |
| City Life |
155 |
117 |
DM: AKA Showman's Fancy (Roche collection,
Allan's Irish Fiddler) |
| Dickie Rodger's Pedestal |
159 |
121 |
DM: Dickie is obscure, but clogging on a pedestal was
a popular variety specialty. |
| Fagan and Fenton's |
160 |
121 |
DM: Barney Fagan (born in Boston, 1850) and John
Fenton had a dance double act in the mid 1870s. The tune is
credited to J. Braham, most likely John Braham, a violinist
who led the orchestra at the Howard Athenaeum in Boston and
who composed numerous popular songs and dance tunes in the
1870s and '80s. His father Joseph led Tony Pastor's orchestra
while his uncle David Braham was Ned Harrigan's father-in-law,
musical director and songwriting collaborator. |
| Flee as a Bird |
154 |
116 |
DM: From Psalms 11:1 ("Flee as a Bird to your
mountain, thou who art weary of sin..."). |
| Gray's Opera House |
159 |
117 |
DM: O'Neill's Sweeps, Millicen's Favorite
or Royal Belfast in Kerr's I. |
| Great Western |
155 |
121 |
DM: The most prominent "Gray's Opera House"
was a Houston, Texas theater saved from fire in 1875. Oscar
Wilde lectured there in 1882. |
| Johnnie Queen's |
159 |
120 |
DM: Johnnie Queen was one of the best-known American
clog dancers of the late 19th century. "...Queen
electrified the English music halls when he went abroad for a
tour in the eighties. They found his triples, rolls, and
nerve steps uncanny, refused to believe he accomplished them
unaided by tricks, and caused him no end of embarrassment by
demanding to see his shoes. Queen stopped that by making his
entrance in his slippers and passing around his shoes for the
audience to examine, as proof that he used no clappers or
other Yankee gadgets." - Douglas Gilbert, American
Vaudeville: Its Life and Times, Whittlesey House (McGraw-Hill),
New York 1940. |
| Lee's Double Clog |
160 |
121 |
DM: Same as The Irish-American reel (Ryan p25) |
| Minnie Foster's |
156 |
118 |
DM: Named for a variety show actress who was a
celebrated blackface "Topsy" in performances of
Uncle Tom's Cabin. Recorded by Seán McGuire as
The Black Swan. |
| Minstrel's Fancy |
157 |
119 |
DM: O'Neill's McElligott's Fancy. Recorded by
flute player John McKenna as The Buck from the
Mountain. |
| Remembrance of Dublin |
156 |
118 |
DM: AKA Norton's Favorite Hornpipe (Ryan p143) |
| Statue |
155 |
117 |
DM: The "statue clog" was a variety show
specialty of the 1870s and '80s in which the performer posed
as a statue come to life on a pedestal. |
| Tammany Ring |
157 |
119 |
DM: See notes for
The Princess
(Ryan p131). This title is a reference to the corrupt
associates of New York's "Boss" Tweed, leader of
the Tammany Hall Democratic Party machine in New York in the
1870s.
Bill Black: I know that tune (in the key of G) as
The Southern Shore. It has other names as well, none
of which can I recall. The Dubliners recorded it years ago as
did Boston's (now Chicago's) fine fiddler Brendan Bulger.
Michael Hogan: This is The Wonder Hornpipe...
Andrew Pickering: ...composed by James Hill. The title
presumably refers to a racehorse.
PdG: Patty Furlong recorded it on her self-titled CD
as Coey's Hornpipe.
Jeff Lindqvist: It's recorded in G (G sharp) on the
De Dannan's Hibernian Rhapsody (in the set
George Ross' Hornpipes). |
