Annotation:Reel Lindbergh

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X:1 T:Reel Lindbergh S:Fortunat Malouin (1870-1935) M:C| L:1/8 R:Reel K:D ag|:fdAF DFBF|AFBF A2 ef|gecA ^GABc|defg ba^ga| fdAF DFBF|AFBF A2 ef|gecA ^GABc|1 dfec d2 ag:|2 dfec d4|| |:f(f f)f g2 ^g2|a3b a2 fa|gecA ^GABc|defg ba^ga| f(f f)f g2 ^g2|a3b a2 fa|gecA ^GABc|1 dfec d4:|2 dfec d2 ag||

REEL LINDBERGH. AKA - "Reel du président," "Gigue du sans-travail." French-Canadian, Reel (cut time). D Major. Standard tuning (fiddle). AA'B. According to Gabriel Labbé (1977), the tune was composed in 1917 by Fortunat Malouin (1870-1935) and originally titled "Reel de la Rivière-Blanche," however, when he recorded it in New York in 1928 he renamed it to commemorate the 1926 achievement of aviator Charles Lindbergh's solo transatlantic flight. Researcher Jean Duval finds the tune in the 1933 printed collection of J.A. Boucher (1869-1927) under the title "Reel du président"[1]^[1] and he notes that Isidore Soucy recorded a version under the title "Gigue du sans-travail" in 1936.

The first few bars are highly evocative of the well-known "Chicken Reel (1)," composed by American Joseph M. Daly in 1910, coincidently recorded in Montreal by A.J. Bouchay the same year that Malouin recorded his "Reel Lindbergh."

Additional notes

Printed sources : - J.A. Boucher (Le Répertoire du Violoneux), Montreal, 1933; No. 6 (as "Reel du président"). Jean Duval (La Musique de Fortunat Malouin), 2020; p. 2. [2].

Recorded sources : - Columbia 34130-F (78 RPM), Fortunat Malouin (1928).

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↑ Elsewhere Duval has written that he believes that Boucher and Malouin were rivals or competitors, at least from Boucher's point of view. Malouin had won a provincial fiddle competition held in the St-Sauveur district of Quebec in 1926 (perhaps besting Boucher? Duval speculates) which may have led to his New York recording opportunity. Boucher changed the titles of some of the tunes associated with Malouin in his collection, perhaps to diminish Moulin's claim to the titles he used for his recording

[1] Elsewhere Duval has written that he believes that Boucher and Malouin were rivals or competitors, at least from Boucher's point of view. Malouin had won a provincial fiddle competition held in the St-Sauveur district of Quebec in 1926 (perhaps besting Boucher? Duval speculates) which may have led to his New York recording opportunity. Boucher changed the titles of some of the tunes associated with Malouin in his collection, perhaps to diminish Moulin's claim to the titles he used for his recording

[1]