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Boney's Defeat/Bonaparte’s Retreat
Traditional Old-Time, Texas Style; March, Reel- Texas, Oklahoma, Arkansas, Missouri, North Carolina, Kentucky, northeast Alabama, Mississippi, southwestern Va., West Virginia, Pennslyvania.
ARTIST: From English Folk Songs from the Southern Appalachians, Sharp Collected from Mrs. Townsley and Mrs. Wilson, KY;
Listen: A. A. Gray 1924 version
Listen: Peter Rowan; Tony Rice and all- has a verse of Pee Wee King's
Listen: Ola Belle Reed- (Dulcimer) Rising Sun Melodies
Listen: Richard Matteson- Solo Guitar
Listen: W. M. Stepp's famous version 1936
CATEGORY: Fiddle and Instrumental Tunes DATE: 1917.
RECORDING INFO: Matteson, Richard; American Fiddle Tunes CD, Mel Bay Pub.(1995); Blizard, Ralph; & the New Southern Ramblers. Ralph Blizard Fiddles, Blizard 0989C, Cas (199?), cut# 10; Buzzard Rock String Band. I've Got the Blues for My Kentucky Home, June Appal JA-0054, LP (1988), cut#A.05a; Carter, Maybelle (Mother Maybelle). Mother Maybelle Carter, Hilltop JS-6172, LP (198?), cut#A.01; Chancellor, Jim "Texas Shorty". Texas Shorty and John Hartford. Old Sport, Small Dog A-Barking SD 494, Cas (1994), cut#B.04; Edmonds, Norman. Southern Journey. Vol. 2: Ballads and Breakdowns, Rounder 1702, CD (1997), cut# 7; Ensign, Bob; and the Stump Jumpers. Mountain Guitar Pickin', Rural Rhythm RRBE 255, LP (197?), cut#A.09; Farina, Richard and Mimi. Celebrations for a Grey Day, Vanguard VSD 79174, LP (196?), cut# 13c (Celebrations for a Grey Day); Fraley, J. P. and Annadeene. Gallynipper, June Appal JA 0058C, Cas (1990), cut# 17; Fuzzy Mountain String Band. Fuzzy Mountain String Band, Rounder 0010, LP (1972), cut# 20; Gavin, Pam. Potpourri, Dancing Doll DLP 612, LP (1985), cut#A.01; Haley, Ed. Grey Eagle (Vol. 2), Rounder 1133/1134, CD (1997), 1.13; Hilston, John. Tribute to Tommy Jarrell, Heritage (Galax) 063, LP (1986), cut# 10; Jarrell, Tommy. Sail Away Ladies, County 756, LP (197?), cut# 9; Johnson, John. Fiddlin' John, Augusta Heritage AHR 001, LP (1981), cut# 5; Keith, Leslie. Black Mountain Blues, Briar BF-4210, LP (1974), cut# 8; Kizzar, Tim. In an Arizona Town, AFF AFF 33-3, LP (1976?), cut# 15; Leftwich, Brad; and Linda Higginbotham. No One to Bring Home Tonight, County 790, LP (1984), cut# 3b; Luckiamute River String Band. Waterbound, Lucks '94, Cas (1994), cut#A.08; Lundy, Emmett. Fiddle Tunes from Grayson County, String 802, LP (1977), cut# 16; Martin, Marcus. Anglo-American Songs and Ballads, Library of Congress AFS L21, LP (196?), cut# 2c; Milnes, Gerry. Old Time Fiddling of Braxton County. Vol 2, Augusta Heritage AHR 013, Cas (1992), cut# 14; Molsky, Bruce. Warring Cats, Yodel-Ay-Hee 011, Cas (1993), cut# 9a; Molsky, Bruce. Old Time Music on the Air, Vol. 1, Rounder 0331, Cas (1994), cut# 24a; Nicholson, Roger; and Lorraine Lee. Exultation of Dulcimers, Greenhays GR707, LP (1980), cut# 6; Possum Hunters. In the Pines, Takoma A-1025, LP (196?), cut# 9; Poston, Mutt; and the Farm Hands. Hoe Down! Vol. 6. Country Blues Instrumentals, Rural Rhythm RR 156, LP (197?), cut# 6; Putnam String County Band. Putnam String Count Band, Rounder 3003, LP (1973), cut# 15; Reed, Ola Belle and Bud. All in One Evening, Folkways FA 2329, LP (1978), cut#A.O6; Robertson, Eck. Eck Robertson, County 202, LP (1992), cut# 17; Rutland, Georgia Slim (Robert Hughes). Raw Fiddle, Kanawha 325, LP (1976), cut# 7; Salyer, John Morgan. Home Recordings 1941-42, Appalachian Center Ser. AC003, Cas (1993), cut# 26 (Napolean's Retreat); Schnaufer, David. Delcimore, Collecting Dust CD 0699001, CD (1999), cut# 2; Seeger, Mike. Old Time Country Music, Folkways FA 2325, LP, cut# 6; Smith, Fiddlin' Arthur; & his Dixieliners. Fiddlin' Arthur Smith and His Dixieliners, Vol. 1, County 546, LP (1978), cut# 12; Smith, Hobart. Hobart Smith, Folk Legacy FSA-017, LP (1964), cut# 14; Stepp, W. M.. American Fiddle Tunes, Library of Congress AFS L62, LP (1971), cut# 14; Thomasson, Benny. Texas Hoedown, County 703, LP (1965), cut# 4; Thomas, Tony. Old Style Texas and Oklahoma Fiddling, Takoma A-1013, LP (195?), cut# 1; Ungar, Jay; and Lynn Hardy. Songs, Ballads and Fiddle Tunes, Philo 1023, LP (1975), cut# 12; Ungar, Jay. Visits, Heritage (Galax) 033, LP (1981), cut# 30; Wakefield, Frank. Blues Stay Away From Me, Takoma TAK 7082, LP (1980), cut# 10; Watson, Doc and Merle. Then and Now, Poppy 0598, LP (1973), cut#A.01; Wimmer, Sherman. Old Originals, Vol. 1, Rounder 0057, LP (1978), cut# 9; Caney Mountain Records CLP 228, Lonnie Robertson (Mo.), c. 1971-72. County 202, "Eck Robertson: Famous Cowboy Fiddler." County 546, "Arthur Smith and His Dixieliners, Vol. I." County 703, Benny Thomasson- "Texas Hoedown." County 756, Tommy Jarrell- "Sail Away Ladies" (1976). County 790, Leftwich & Higginbotham - "No One to Bring Home Tonight" (1984). Folkways FA 2325, Mike Seeger- "Old Time Country Music." Folkways FA 2366, The Watson Family (N.C.) - "The Watson Family Album." Folk Legacy Records FSA-17, Hobart Smith - "America's Greatest Folk Instrumentalist." Heritage XXXIII, Jay Ungar & Neil Rossi - "Visits" (1981. Learned from a 1937 Library of Congress recording of Lakeville, Ky., fiddler W.M.Stepp). Okeh 40110 (78 RPM), A.A. Gray (1924). Philo 1023, Jay Ungar and Lyn Hardy- "Songs Ballads and Fiddle Tunes" (1975. Learned from Kentucky fiddler W.M. Stepp via Library of Congress recording). Rounder 0010, "The Fuzzy Mountain String Band" (1972. Learned from Alan Jabbour). Rounder 0057, Sherman Wimmer (Franklin County, Va.) - "Old Originals, Vol. 1" (1978. Learned from Will Willit, nephew and protege of influential Franklin County fiddler Fount Kinrea). String 802, Emmett Lundy (Galax, Va.) - Library of Congress Recording. Transatlantic 341, Dave Swarbrick- "Swarbrick 2." Voyager VRCD 344, Howard Marshall & John Williams - "Fiddling Missouri" (1999. Learned from Audrain County, Missouri, fiddler Warren Elliot in 1967). Yazoo Records, W.M. (William) Stepp - "Music of Kentucky, Vol. 1" (reissue of the 1937 Stepp recording by Alan Lomax. Stepp can be heard on the recording saying in the midst of fiddling: "This is the bony part....That was the bony part").
OTHER NAMES:(The “Bonaparte” names are frequently used interchangeably for different melodies.) Boney’s Retreat- Hassetts Retreat; Dry and Dusty; Related to: Eagle's Whistle; Bonaparte Crossing the Rockies/Rocky Mountain
SOURCES: Bayard (Hill Country Tunes), 1944; No. 87. Bayard (Dance to the Fiddle), 1981; No. 238, pg. 199. Brody (Fiddler's Fakebook), 1983; pg. 52. Ford (Traditional Music in America), 1940; pg. 129. Lomax (Our Singing Country), pg 54-55 (appears as "Bonyparte"). Thede (The Fiddle Book), 1967; pg. 36-37. J.S. Price (Pottawatomie County, Oklahoma) [Thede]: F.P. Provance, Point Marion, Pennsylvania, September 19, 1943, who learned it from Sam Waggle, fifer, of Dunbar [Bayard, 1944]: Marion Yoders (Greene County, Pa., 1962) [Bayard, 1981]. Traditional Music in America, Folklore Associates, Bk (1940/1965), p129; ; Price, J. S.. Fiddle Book, Oak, Bk (1967), p 37; Provance, F. P.. Hill Country Tunes: Instrumental Folk Music of Southwestern Penn, Amer. Folklore Society, fol (1944), 87; Thompson, Linda Lowe. Dulcimer Player News, Dulcimer Player News DPN, Ser (1973-), 17/3, p31; Kuntz, Fiddler's Companion, http://www.ceolas.org/tunes/fc;
NOTES: This version is a ballad from English Folk Songs from the Southern Appalachians collected by Ceceil Sharp from Mrs. Townsley and Mrs. Wilson, KY in 1917. These traditional lyrics can be adapted to the melody.
The popular version of this tune (see Version 2) was penned by Pee Wee King and Redd Stewart and became a top-ten country hit in 1964. The lyrics and arrangement are copyrighted. They simple added lyrics to the old fiddle melody and arranged the song, mcuh as Jimmie Driftwood did with Battle of New Orleans and I have done occasionally (see Salt Creek; Big sandy River and Jerusalem Ridge).
I love Ola Belle Reed's version: Listen: Ola Belle Reed- (Dulcimer) Rising Sun Melodies
I did a solo version based on Merle Watson's solo and it's in my Mel Bay book, American Fiddle tunes for Acoustic Guitar: Listen: Richard Matteson- Solo Guitar
The most famous version of Bonepart's Retreat is W. M. Stepp's version which appears note for note in Copland's ballet Rodeo and is the theme for the final movement.
Listen: W. M. Stepp's famous version It should be noted that Stepp's version is different than most standard melodies.
Wiki: "Continuing his string of successes, in 1942 Copland composed the ballet Rodeo, a tale of a ranch wedding, written around the same time as Lincoln Portrait. Rodeo is another enduring composition for Copland and contains many recognizable folk tunes, well-blended with Copland's original music. Notable in the final movement, is the striking "Hoedown". This was a recreation of Appalachian fiddler W. M. Stepp's version of the square-dance tune "Bonypart" ("Bonapart's Retreat"), which had been transcribed for piano by Ruth Crawford Seeger and published in Alan Lomax and Seeger's book, Our Singing Country (1941). For the "Hoedown" in Rodeo Copland borrowed note for note from Seeger's piano transcription of Stepp's tune. This fragment (lifted from Ruth Crawford Seeger) is now one of the best-known compositions by any American composer, having been used numerous times in movies and on television, including commercials for the American beef industry."
Kuntz notes: "D Major (most versions, though one version in A Major was collected from Mississippi fiddler John Hatcher in 1939). DDAD or DDAE. ABB."(Kuntz, Fiddler's Companion, http://www.ceolas.org/tunes/fc).
"A classic old-time quasi-programmatic American fiddle piece that is generally played in a slow march tempo at the beginning and becomes increasingly more quick by the end of the tune, and meant to denote a retreating army. One folklore anecdote regarding this melody has it that the original "Bonaparte's Retreat" was improvised on the bagpipe by a member of a Scots regiment that fought at Waterloo, in remembrance of the occasion. The American collector Ira Ford (1940) (who seemed to manufacture his notions of tune origins from fancy and supposition, or else elaborately embellished snatches of tune-lore) declared the melody to be an "old American traditional novelty, which had its origin after the Napoleonic Wars." He notes that some fiddlers (whom he presumably witnessed) produced effects in performance by drumming the strings with the back of the bow and "other manipulations simulating musket fire and the general din of combat. Pizzicato represents the boom of the cannon, while the movement beginning with Allegro is played with a continuous bow, to imitate bagpipes or fife." (Kuntz, Fiddler's Companion, http://www.ceolas.org/tunes/fc).
In fact, the tune has Irish origins, though Burman-Hall could only find printed variants in sources from that island from 1872 onward. "It has been collected in a variety of functions, including an Irish lullaby and a 'Frog Dance' from the Isle of Man" (Linda Burman-Hall. "Southern American Folk Fiddle Styles," Ethnomusicology, Vol. 19, #1, Jan. 1975). Samuel Bayard (1944) concurs with assigning Irish origins for "Bonaparte's Retreat," and notes that it is an ancient Irish march tune with quite a varied traditional history. The 'ancient march' is called "The Eagle's Whistle" or "The Eagle's Tune," which P.W. Joyce (1909) said was formerly the marching tune of the once powerful O'Donovan family. Still, states Bayard, the evidence of Irish collections indicates that it has long been common property of traditional fiddlers and pipers, and has undergone considerable alteration at various hands." (Kuntz, Fiddler's Companion, http://www.ceolas.org/tunes/fc).
"Bayard's primary scope of collecting was in western Pennsylvania in the mid-20th century, where he found the tune still current in fiddle repertoire, though he remarked on its popularity in various parts of the South. His Pennsylvania version has a somewhat simpler melodic outline than most of the other recorded American sets, and, although he notes that these sets vary considerably--even in the number of parts which a version may contain--he finds they are clearly cognate, and all show resemblance's and common traits indicating derivation from the "The Eagle's Whistle." In Southwestern Pennsylvania the march origins were lost and instead "sets of the tune have been recast into the form--and given title-- of 'The Old Man and Old Woman Quarrelin' (Scoldin', Fightin'),' and thus present an alternation of slow and quick parts. Other Pennsylania sets are Bayard Coll., Nos. 81, 84, 252; and see notes to ('Old Man and Old Woman Scoldin'). These refashioned 'Old Man and Woman' sets differ somewhat among themselves, indicating that they have been traditional in their altered form for some time; but whether they assumed this form before their importation into America, or whether the alteration took place here, with an older tune of the type of 'Old Mand and Old Woman Scoldin'' as model, is uncertain. F.P. Provance stated that the fifer from whom he learned this tune played it as a retreat in Civil War days" (Bayard, 1944)." (Kuntz, Fiddler's Companion, http://www.ceolas.org/tunes/fc).
According to Blue Ridge Mountain local history the tune was known in the Civil War era. Geoffrey Cantrell, writing in the Asheville Citizen-Times of Feb., 23, 2000 relates the story of the execution of three men by the Confederate Home Guard on April 10th, 1865, the day after Lee's surrender at Appomattox.Courthouse. That news would not have been known to them, given the difficult, but it is documented that Henry Grooms, his brother George and his brother-in-law Mitchell Caldwell, all of north Haywood County, North Carolina, were taken prisoner by the Guard-no one knows why, but the area had been ravaged by scalawags and bushwackers, and the populace had suffered numerous raids of family farms by Union troops hunting provisions. The village of Waynesville had been burned two months earlier, and the citizenry was beleaguered and anxious. Cantrell writes: "The group traveled toward Cataloochee Valley and Henry Grooms, clutching his fiddle and bow, was asked by his captors to play a tune. Realizing he was performing for his own firing squad Grooms struck up Bonaparte's Retreat." When he finished the three men were lined up against an oak tree and shot, the bodies left where they feel. Henry's wife gathered the bodies and buried them in a single grove in Sutton Cemetery No. 1 in the Mount Sterling community, the plain headstone reading only "Murdered." (Kuntz, Fiddler's Companion, http://www.ceolas.org/tunes/fc).
"The Kentucky encyclopedia gives another story which mentions "Bonaparte's Retreat" in connection with an execution. It seems that a Colonel Solomon P. Sharp, a former attorney general of Kentucky, was murdered in the middle of a September night in 1825 by an unidentified assailant who stabbed him in his chest. Sharp had political enemies, all of whom had alibis, but who had circulated rumors that he had seduced one Ann Cook of Bowling Green, fathering her illegitimate child in 1820. Suspicion soon shifted to Ann's husband, Jereboam Beauchamp, who married her after the birth of the supposed love-child but who was infuriated at the circulating handbills containing the rumor. Beauchamp was dully arrested, tried in Frankfort in May, 1826, found guilty and was sentenced to death by hanging. Ann could not bear to be parted from him and somehow gained permission from the jailer to stay with him in his jail cell. The couple tried unsuccessfully to commit suicide by taking an overdose of laudanum, but were still permitted to share the cell. Another suicide attempt with a smuggled knife was made on the day of the execution, with somewhat better results. Ann, mortally wounded, was taken to the jailers house for treatment, but Beauchamp was hustled to the gallows lest he die from his wounds before the sentence was carried out. He proved too weak from his wounds to stand and had to be supported, but he was presumably able to hear the strains of "Bonaparte's Retreat" played before he made the leap, as he had previously requested. Ann and Jereboam were buried in a joint grave in Bloomfield, Kenctucky, graced by a tombstone engraved with an eight-stanza poem written by Ann." (Kuntz, Fiddler's Companion, http://www.ceolas.org/tunes/fc).
"The tune was cited (by Mattie Stanfield in her book Sourwood Tonic and Sassafras Tea) as having been played by Etowah County, Alabama, fiddler George Cole at the turn of the century (Cauthen, 1990). Musicologist/folklorist Vance Randolph recorded the tune from Ozark Mountain fiddlers for the Library of Congress in the early 1940's. Ed Haley (1883-1951) of Ashland, eastern Ky., played the tune so skillfully that "one old-timer, after hearing Haley play ("Bonaparte's Retreat") declared that 'if two armies could come together and hear him play that tune, they'd kill themselves in piles" (Wolfe, 1982). Haley toured regionally in Kentucky and West Virginia It was "Bonaparte's Retreat" that was the first tune Braxton County fiddler Melvin Wine (1909-1999) learned at the age of nine. His father, Bob, played the fiddle and young Melvin practiced when the elder Wine was out cutting timber or working as a farmhand for neighbors. He finally worked up the nerve to play for his father, and it proved a successful entrée, for afterwards which Bob taught him tunes he had learned from his own father, Nels, and Grandfather "Smithy" (Mountains of Music, John Lilly ed., 1999, pg. 8)." (Kuntz, Fiddler's Companion, http://www.ceolas.org/tunes/fc).
"Another Kentucky fiddler, William H. Stepp (of Leakeville, Magoffin County, whose name, Kerry Blech points out, is sometimes erroneously given as W.M. Stepp, from a misreading of the old abbreviation Wm., for William), appears to be the source (through his 1937 Library of Congress field recording) for many revival fiddlers' versions. Stepp's version of the tune was transcribed by Ruth Crawford Seegar and was included in John and Alan Lomax's volume Our Singing Country (1941). The Crawford/Seegar version has been credited as the source Aaron Copland adapted for a main theme in his orchestral suite "Hoedown." {Lynn "Chirps" Smith says he has even heard people refer to the tune as "Copland's Fancy" in recent times!}. North Georgia fiddler A.A. Gray (1881-1939) won third place honors playing the tune at the 1920 (10th) Annual Georgia Old Time Fiddler's Association state contest in Atlanta, and four years later recorded it as a solo fiddle tune for OKeh Records."(Kuntz, Fiddler's Companion, http://www.ceolas.org/tunes/fc).
BONEY'S DEFEAT/BONAPARTE'S RETREAT- Collected Ceceil Sharp from Mrs. Townsley and Mrs. Wilson, KY 1917
O, Boney has gone to the wars of old fighting
He has gone to the place where he takes no delight in
O there he may sit down, and tell all the scenes of sinners
Whilst forlorn he does mourn on the isles of Saint Helena.
Louisa does weep for her husband's departing,
And she dreams when she sleeps and she wakes broken-hearted.
Not a friend to condole or even those who might be with her,
Though she mourns when she thinks on the Isles of St. Helena.
The rude rushing waves all around the shores a-washing,
And the great bellows heaves and the wild rocks a-dashing.
You may look to the moon, to the great Mount Diana,
With his eyes over the waves that's around St. Helena.
No more in St. Cloud he will be seen in such splendor,
I'll go on with the crowd at the great Alexander,
For the young King of Rome and the Prince of Guiana
Says he'll bring his father home from the Isles of St. Helena.
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