FT-59

‘Folklife Traditions’ pages in the Folklife West print magazine v
‘Folklife Traditions’
FW 59. Oct 2018
p46
‘The Princess Royal’ tune by Charles Menteith
The Princess Royal
‘The Princess Royal’ tune by Charles Menteith
The Princess Royal is a tune which was used for solo morris jigs in various Cotswold villages, while the Abingdon
morris use it for a set dance. For Gloucestershire versions see 1 , 2 , 3 , 4 , 5 , 6 . Other versions are from Abingdon,
The Adderbury, Princess Royal Bampton, is a tune Bidford, which Bledington, was used for Stanton solo morris Harcourt, jigs and in various the Wychwood Cotswold area villages, often while called the "Fieldtown". Abingdon morris 7 use it for a
set dance. What For could Gloucestershire be more typically versions English? see (1, Yet 2, 3, the 4, 5, tune's 6) . Other origins versions seem to are be from in Ireland. Abingdon, Adderbury, Bampton, Bidford, Bledington,
Stanton In Harcourt, 1792 a festival and the of Wychwood harp playing area often was organised called "Fieldtown" in Belfast. (7) . Edward Bunting (1773–1843) was engaged to note the
What music could played. be more He typically noted the English? melodies Yet alone, the tune's and origins published seem the to be result in Ireland. in three volumes published in 1796, 1809 and
In 1840, 1792 a the festival last containing of harp playing The was Princess organised Royal. in Belfast. 8 He states Edward "The Bunting object (1773–1843) then of the present was engaged publication to note chiefly the music is played. to giveHe noted
the melodies
the remaining
alone, and
airs
published
of the collection
the result
arranged
in three volumes
in true harp
published
style,
in
for
1796,
the
1809
piano
and
forte...".
1840, the
Bunting
last containing
noted the
The
tune
Princess
from
Royal (8) .
He states "The object then of the present publication chiefly is to give the remaining airs of the collection arranged in true harp style, for the
Arthur O'Neill, who told him that O'Carolan had composed it; in 1810 Farrell quoted this in print for the first time.
piano forte...". Bunting noted the tune from Arthur O'Neill, who told him that O'Carolan had composed it; in 1810 Farrell quoted this in print
Bunting's MS collection is held by the Library of Queen’s University, Belfast.
for the first time. Bunting's MS collection is held by the Library of Queen’s University, Belfast.
Illustration 1: The Princess Royal, from Bunting’s Bunting's 3rd 3rd collection, 1840 1840
To To hear hear the the tune tune played, played, see see https://www.youtube.com/watch?v=0in6xDp2ooE
In In 1910 1910 Grattan Grattan Flood Flood (9) 9 insisted after diligent musical analysis that that nobody but but O’Carolan O'Carolan could could have have written written it; it; and and in in the 1950s
Donal the O’Sullivan 1950s Donal “confirmed” O'Sullivan that "confirmed" in the light of that all this in the evidence light of it all was this an evidence O’Carolan it tune, was written an O'Carolan about 1725 tune, in written honour about of one of the
Roscommon MacDermott’s daughters.
1725 in honour of one of the Roscommon MacDermott's daughters.
Turlough O’Carolan (1670-1738), the Irish harpist, lost his sight at
Turlough O’Carolan (1670-1738), the Irish harpist, lost his In sight 1384 at Connaught the age of 18, was as divided a result of between smallpox. the From O’Connor being a
the age of 18, as a result of smallpox. From being a blacksmith in Co. Meath,
blacksmith in Co. Meath, Carolan's father moved to employment Dons and with the the O’Connor McDermott Roes, Roe the family latter Ballyfarnon, receiving theCo.
Carolan’s father moved to employment with the McDermott Roe family
Roscommon. After he became blind, Mrs McDermott Roe Eastern
at
took
Ballyfarnon,
young part of Turlough the province
Co. Roscommon.
under her on
After
wing, the West
he became
had bank him
blind,
taught of the
Mrs
the
McDermott
harp, and, after three years, provided an instrument, a horse Shannon.
Roe and took a young helper From
Turlough to the guide 11th
under him. century
her So wing, he started until
had him the 1461
taught life the of the anharp, and,
itinerant harper, travelling from one large house to another, O’Maolconrys
after the three owners had
years, of provided which the duty often inaugurating
an instrument, feature as a horse dedicatees the Kings
and a helper of ofhis
to guide
compositions. The tune dedicated to Elisabeth MacDermott Connaught.
him. Roe So is an he started example. Only they
the But and
life why the
of an the hereditary
itinerant Princess Guardian
harper, Royal? of the
travelling from one large
sacred hill of Carn Fraoich were allowed on the Hill
house to another, the owners of which often feature as dedicatees of his
during
compositions.
the ceremony.
The tune
His
dedicated
main duty
to Elisabeth
was to
MacDermott
place the
Roe is an
“royal example. rod But or why wand the Princess in O’Connor’s Royal? hand”. But in
1461“McDermot In 1384 Connaught arrogated was divided to himself between the O’Connor right of Dons and the
inaugurating O’Connor Roes, both the the latter O’Connors”. receiving the He is Eastern said to part have of “put the province on
pressure the West on bank O’Maolconry, of the Shannon. who From for a the consideration, 11th century sold until 1461 the
the O’Maolconrys hereditary office…” had the duty 10 This of inaugurating would explain the Kings the princely of Connaught. Only
role they of and the the McDermott hereditary Roes. Guardian Whatever of the sacred the rights hill of of Carn their Fraoich were
Illustration 2: O'Carolan playing the the harp harp claim allowed to on princely the Hill status, during O’Carolan the ceremony. evidently His main concurred duty was to place the
with the position of his good patrons.
O'Sullivan 11 , however, notes there were two branches of the County Roscommon family; the MacDermotts of