Quebec fiddle

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Quebec fiddle is a part of the Old time fiddle canon and is influential in New England and Northwest fiddle styles.

History and development

According to Reiner and Anick,

Metis fiddle style, percussive and rhythmic playing is notably developed in this style. As with the French-speaking Cajun fiddle style, German button accordion created a fad which temporarily influenced the form, as did the eventual introduction of piano in the urban center Montreal.[2]

Repertoire and style

The repertoire is, in some respects, generally the same as that of

Oldtime fiddle, but with the addition of French-derived chanson. However, the interpretation is quite different. For example, Lisa Ornstein's treatment of The Devil's Dream
(Reel du Diable) emphasized double stop and rhythmic ornament seldom found in US interpretations.

This style is also demonstrated in a rare 2011 performance by Kevin Burke in which he plays three reels from Quebec (Reel de Napoleon, Reel en Sol (Reel in G), and Guy Thomas).[3]

He also recorded this set with Celtic Fiddle Festival on their 2008 CD Equinox. The percussive use of footwork, however, is not limited to the First Nations musicians. Fiddle music, in general, lends itself well to group playing and percussive use of feet and hands, as in the performance of La Turlette at Kyneton, central Victoria, where the Celtic Southern Cross Summer School produced this ethnomusicologically notable clip.[4]

Notable musicians

Joseph Allard

Joseph Allard in 1927

fiddler who made many popular recordings earning him the title The Prince of Fiddlers. His family lived in Quebec when he was quite young. Allard's father was a violoneux, and, when Allard reached the age of nine, he began formal fiddle instruction.[5]
Allard remained in Quebec until the age of sixteen at which time he moved back to the United States. He entered fiddling competitions throughout New England, winning in Massachusetts, New Hampshire, Rhode Island and Connecticut. Scottish and Irish musicians he met through his travels taught him a number of Reels and Gigues.[5]

He continued to travel and play in the United States until 1917 when he returned to Canada and settled near

French Canadians fiddlers to record commercially.[6]
Apart from traditional songs, Allard also wrote around sixty songs of his own.

Jean “Ti-Jean” Carignan

Michael Coleman, from whom he received most of his stylistic influence, and from Scotch fiddle player James Scott Skinner. Carignan's other major influences included Louis Boudreault, Yehudi Menuhin and Henryk Szeryng
.

In 1976, Carignan released Jean Carignan rend hommage à Joseph Allard, a tribute album to Allard.[7]

See also

Wikiquote has quotations related to Quebec fiddle.

References

  1. ISBN 0-7866-5381-7
    .
  2. ^ Boston Fiddle|Frank Ferrell|Mel Bay. Ferrel traces the intricate relationship between North East "Down East" fiddle and Canadian and how the piano played a role.
  3. ^ Kevin Burke|An Beal Bocht|NY|https://www.youtube.com/watch?v=bE-8fhr-sYQ
  4. ^ Celtic Southern Cross - La Turlutte - the Quebecois fiddles and Singing classes |https://www.youtube.com/watch?v=FCwNytnFuOM%7CThe fiddle instructor was Pria Schwall-Kearney taught Quebecois fiddle and Cloudstreet (John Thompson and Nicole Murray) taught Singing Traditional Song.
  5. ^ a b c "Allard, Joseph." The Encyclopedia of Music in Canada. Historica Dominion Institute. 22 July 2011 <"Allard, Joseph - the Canadian Encyclopedia". Archived from the original on June 8, 2011. Retrieved July 10, 2011.>
  6. JSTOR 538698
    .
  7. JSTOR 850967
    .

External links
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