ODE: New Swedish folk band full of swing

A fine day three talented Swedish folk musicians decided to combine their efforts to make up some nice modern folk music. They are the renowned percussionist/multi-instrumentalist Olle Linder (Ranarim, Jul i Folkton), the cool Scanian Dan Svensson (Alla Fagra) and a star on the rise, nyckelharpa player Emilia Amper (Skaran).

They still don´t have any record, but they posted some nice videos from youtube on their facebook page.   Here I share them with you, hoping you like them too.

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Dancing bears: la danse de l’ours

Bears have been tamed for entertainment purposes for thousands of year especially in the Asian world but it is only in the Middle Ages where European sources mention them.  It is believed that dancing bears were a common attraction in these times and more often than not we see them depicted in coins, chests, doors, manuscripts and even city seals.

Francisco Alvarez, in his article “Juggling – its history and greatest performers” makes reference to a rather obscure book which he calls “Collected Stories from London, 1907″ (sic.) and from which he provides an interesting passage about the working juggler in the Middle Ages:

The trained bear was led away and the jugglers entered. A man and a boy. They carefully unfolded their bags and began performing. The man, running around in small circles, rapidly juggled with three knives. The boy, whip in hand, would at times, in jest, castigate the man whenever he fumbled. The effect was dexterous, comical, and most entertaining. After the older minstrel had walked on his hands and juggled with balls, the pair collected some coins, folded their bags, and calmly walked away to disappear into the mob. The singers now entered with their music scrolls in hand.

In Thiðrekssaga, a Norwegian saga from the 13th century concerned with the adventures of the German hero Dietrich of Bern, we find a peculiar passage about a (fake) dancing bear. The original text of this passage can be read here.  For those who do not feel comfortable with reading in Old Norse, here´s a retelling of the passage as it appears in Guerber´s Legends of the Middle Ages:

Wishing to penetrate unrecognized into the enemy’s camp, Wildeber slew and flayed a bear, donned its skin over his armor, and, imitating the uncouth antics of the animal he personated, bade the minstrel Isung lead him thus disguised to Hertnit’s court.

  This plan was carried out, and the minstrel and dancing bear were hailed with joy. But   Isung was greatly dismayed when Hertnit insisted upon baiting his hunting hounds against the bear; who, however, strangled them all, one after another, without seeming to feel their sharp teeth. Hertnit was furious at the loss of all his pack, and sprang down into the pit with drawn sword; but all his blows glanced aside on the armor concealed beneath the rough pelt. Suddenly the pretended bear stood up, caught the weapon which the king had dropped, and struck off his head. Then, joining Isung, he rushed through the palace and delivered the captive Wittich; whereupon, seizing swords and steeds on their way, they all three rode out of the city before they could be stopped.

Talking about Bern, you surely noticed that the heraldic beast of the Swiss city of Bern is the bear… even though the bear on the original coat of arms (which dates from 1240)  is not dancing, it could well be based on a legend similar to that included in the saga. Konrad Justinger in his chronicle from 1430 sees it rather as a hunted bear:

Nu wart des ersten ein ber gevangen, darumb wart die stat bern genempt; und gab do den burgeren in der stat ein wappen und schilt, nemlich einen swarzen bern in einem wissen schilt in gender wise.

(Then they caught a bear first, which is why the city was called Bern; and so the citizens had their coat and shield, namely, a black bear in a white shield, going upright)

But maybe the period when dancing bears were most popular was in the 19th century, when entire families of bear trainers coming from poor mountain zones like Arige and Abruzzo in Italy, Hungary and the Balkans spread throughout Europe with their itinerant shows.  If you feel comfortable with French, you can read more about it here

Surely a dancing bear must have been quite a show at the time. But it must have also been cruel for the poor animal and it wouldn´t be something I would endorse today. Actually, there´s a good number of bear rescue and rehabilitation organizations around luckily because, believe it or not, bears are still made to dance nowadays, especially in Asia.  For instance, bear exploitation was abolished in India in 1972 but still hundreds of bears were tortured until 2009 (!), when International Animal Rescue and Wildlife SOS officially put an end to the practice. And there are many other places where they are still being exploited.  You can red more about it here.

Now, to a happier subject.  Well, if dancing bears were so popular, there surely must have been popular music written for their dances? Of course! All across Europe we find different tunes entitled “the bear´s dance” or something similar and funnily enough they all sound different but at the same time they seem to belong to the same “family”.

My friend Jérôme taught me a French version of the tune (with 3 parts) called, of  course, “la danse de l’ours”. After some time we started playing it with our band Fiesta Noz! and turned it into a success… everybody who hears it cannot avoid start dancing. Which, as you might agree, can only mean two things: either it is a really good tune or we are all furry  Care Bears inside :)

Check out Fiesta Noz! playing La Danse de l’Ours live:

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Folk music from Öland – Part 1

When come to think of Swedish regions with rich folk traditions we usually think of Dalarna, Uppland, Hälsingland and maybe some other, but let us be honest, Öland is nobody´s first choice. However, are we entitled to say that Öland is a culturally poor region?  The short answer would be no, the long answer is as long as this whole article.

An Ölandish style

According to Göran Rygert and Lars Weinhardt[1] there are without any doubts particularities in the Ölandish folk music.  The first one is that during the 19th century there was a curiously big amount of clarinet players on the island.  The other characteristic is that the majority of the melodies ascribed to Öland are in the major mode.  According to statistics, Sweden is the Northern European country with most melodies in the minor mode.  With no less than 80% of its folk tunes on this mode, it opposes completely to what happens in Finland or Russia.

In Öland, the proportion is completely inverted. For example, 92% of the tunes included in Rygert and Weinhardt´s book are in the major mode.  The causes for this we can only guess, but several literary sources speak in favour of milieu influence on the music. In the book Öland, from 1949, the Ölander is described as follows: “a child of its own surroundings, open, with rich fantasy, easily entranced, with somewhat of the wind´s and the sea´s volatility in his mind. Cheerfulness, openness and light humor indeed characterise a big part of the island´s population. There is a southerner trait not only in the island´s nature but also in its people”. While the island´s inhabitants also have been described as the “Italians of the North”, Swedish poet Erik Axel Karlfeldt compared the island and its people to a schooner with its merry crew onboard.

Medieval ballads from the Island

 

According to the profesionals responsible for the SMB (Svenska Medeltida Ballader) collection, editor in chief Professor Bengt R. Jonsson and editor Associate Professor Sven-Bertil Jansson, there are 32 medieval ballads with roots in Öland, which is only 1% of a total of 3612 collected by them, with 9% ballads of unknown procedence. The predominant types of ballads in Öland are Naturmytiska visor (Ballads of the supernatural), Legendvisor (Legendary ballads), Riddarvisor (Ballads of chivalry) and Skämtvisor (Jocular ballads). 

I would like to share with you two well known ballads of the Legendary type in the hope you will find them interesting

 

Fru Gunnil och Elov väktare (TSB B 17)

Konungen skulle till Ledingen fara,
Och Fru Gunnil skulle hemma vara.
Men Gud gifver siälen god nadhe!

Fru Gunnil beställer en badstuf hasteligh,
Och Eluff vechter biuder hon till sigh.
Men Gud gifver siälen god nådhe!

Hon skiäncker Eluff vechter både miöd och vijn,
Så somnar han neder på händer sin.’
Men Gud gifver själen m. m.

Eluff vechter drack aff dhen miöden så varm,
Fru Gunnil tager nycklarna aff hans arm.

Fru Gunnil tager nycklarna uthi sin hand,
Så släpper hon fångarna aff theras bandh.

Hon löste fhe fångar alt aff sine band:
“I skynden nu eder aff dhetta land!”

Hon kastar the nycklar i borga haga;
Thet monde Eluffs hierta så illa behaga.

Konungen kom från ledungen hem på land,
Honom möter Fru Gunnill på siöastrand.

Straxt hon seer sinom herra berättar hon så:
“Att Eluf med villia lätt fångarne bortgå.”

Konungen lätt kalla Eluff vechter till sigh:
“Hvij hafver tu thetta understått tigh?”

Han svor om Gud fadher och thet heliga liuus:
“Jag aldrigh släpte fånga aff fånga huus!”

Han svor om Gud fadher och then helige and:
“Jag aldrigh släpte fångar aff dhetta land!”

Tå svarar Fru Gunnil, ty var hon så vrångh:
“i låten honom niupa med heeta jerntångh!”

Tå svarar Fru Gunnil, ty hon var så vreed:
“i låten honom niupa alt öfver hans qved!” —

“Och är thet eij sant som jag berättar nu,
“Så gif Gud jag måtte föda hundhvalpar siu.”

Sedan Eluff vächtar nu var pijnter så,
Månde the honom i en spijketunna slå.

Therföre tå sattes the skalkhästar två,
Som aldrig hade varit någon tömm uppå.

Så skalkade the honom uth för Borgholms broo,
Igen stod Fru Gunnel, så hiertelig logh,

The skalkade sig alt uth åth Borgholms slätt,
Effter lopp hans moder, så hiertelig gräät.

The skalkade sigh alt uth med Borgholms haagh;
Dher rycktes då från honom hans högra arm.

The skalckade sigh alt uth åth Kiöpings heed;
Effter gick hans moder och plåcka upp hans been.

Sedan uth för Kiöpings klint monde the skalka,
Der Eluf moot en klippa stötte sin nacka.

Ja, dher stötte han så hårdt sitt nacke been,
Att uhtur berget upsprang en källa så reen.’

På Cappels udd monde the sedan stanna;
Ty the af löpande voro så lamma.

Så komma dher siömän och segla ther fram;
Ther fingo the see hvar itt klart lius bran.

“Ty villiom vij ofra een gryta aff malm,
“Vist är ther mördat een sanner Guds man!”

När födslostunden kom på Fru Gunnela nu,
Tå födde hon fram dhe hundhvalpar siu.

Så lät hon strax koka the hundhvalpar små,
Eluf vächtarens lius hon uthsläckte tå.

Hvad löhn Fru Gunnel för dhetta mord bekom,
Är eij uthi thenna vijsan rördt om.

Hon lefver ännu och hoverar fast,
Som räcker doch störst en helt kortan rast.
Men Gudh gifver siälen god nådhe!

 

Lady Gunnil and Elov the guard (English translation)

 
The king would depart to the Leidang[2],
And lady Gunnil would stay at home
-But God gives good grace to the soul!-

Lady Gunnil then commands a bath be prepared promptly
And calls Elov the guard to her presence
-But God gives good grace to the soul!-

She offers Elov the guard both mead and wine,
And thus he falls asleep on his own hands
-But God gives good grace to the soul!, etc.

Elov the guard took a sip of the mead so warm
Lady Gunnil takes the keys from his arm

Lady Gunnil takes the keys from his arm,
And frees the prisoners from their chains

She released all the prisoners from their chains:
“Hurry now and leave this land!”

She casts the chains in Borgahaga:
This might not please Elov´s heart.

The king returned from the Leidang
He meets lady Gunnil by the shore

No sooner she sees her lord than she speaks thus:
“That Elov willingly let the prisoners escape”

The king calls Elov the guard to his presence:
“What were you presuming to do?”

He swore by God father and the holy light:
“I never freed any prisoners from the prison!”

He swore by God father and the holy ghost:
“I never freed any prisoners from this country!”

Then answers lady Gunnil, for she was so wrought:
“Seize him and pinch him with hot iron tongs!”

Then answers lady Gunnil, for she was so angry:
“Seize him and pinch him beyond his whining!”

“And be it not true, this I tell you now,
So will God that I may give birth to seven puppies”

Then Elov the guard was made to suffer so,
They put him inside a spiktunna[3]

Then they tied him to two frisky horses,
Which nobody had mounted before

The horses kicked him up friskily by Borgholm’s bridge
And lady Gunnil so gladly she smiled

The frisky horses galloped all across Borgholm’s plain
Behind him ran his mother, so heartily she wept.

They galloped friskily all across Borgholm’s grove,
Where his right arm was snatched from him

They galloped friskily all across Köping’s heath
After him went his mother and picked up his legs

Then by Köping’s cliff they kicked up friskily,
Where Elov against a rock bumped his neck

Aye, there he bumped his neck so hard,
That from the rock flowed so pure a spring

In Kappeludden[4] the horses stopped;
For of so much galloping they became lame

Then came sailors and sailed to the place;
There they could see that a bright light burned

“Thus we want to offer up a kettle of ore”
“Indeed there was killed a true man of God”

When the moment of birth arrived for lady Gunnela,
She gave birth to seven puppies.

So she ordered the puppies be cooked
Thus extinguishing Elov the guard´s light

What reward waited Lady Gunnil because of this murder,
This ballad is not concerned with

She still lives and floats around,
Which is sufficient, however, for a whole short break
But God gives good grace to the soul!

 

 Långlötevisan (Stolta Karin)[5]

1. I Långlöte by är den fagraste by,
för femton stolta möjar de bo däruti
- För lindar och för ekar i lunderna de gröna –

2. Då kom den danska konungen seglande fram,
fick höra liten Karin i björkelunden sang

3. Å konungen frågade småsvenner så:
“Vem är det som på gullharpan slår?”

4. “Ingen det är som på gullharpan slår,
det är liten Karin i lindelunden går”

5. Å det var den danska kungen steg på snövitan sand,
så gick han uti ekelund för liten Karin fram:

6. “Å hör du stolta Karin-lill, kväd visan för mej,
det kan du väl göra till viljes göra mej”

7. Å stolta Karin kvädde en visa så klar,
att ekelövet dansade som uti lunden var

8. Så kvad hon de visorna, kvad hon de fem,
att danska kungen dansade och alla hans hovmän

9. “Å hör du stolta Karin-lill, drick en dryck med mej,
det kan du väl göra till viljes göra mej”

10. “Å väl vill jag dricka en dryck med dej,
men nog jag har så många, som akta uppå mej

11. På mej aktar fader, på mej aktar mor,
på mej aktar syster såväl som min bror”

12. Den danska kungen tog liten Karin i famn,
så bar han henne i det stora skeppet fram

13. Å danska kungen seglar från Långlöte hamn,
han offrade en gryta av blankaste malm

14. Stolt Karin hon somnade i konungens famn,
hon vaknade ej förrän vid det danska land

15. Stolt Karin hon vaknar och kammar upp sitt hår:
“Gud nåde mej arma för de ord jag sa i går!”

16. I hjälpen mej hem till min fädernesby,
ty mina småbarn de gråta efter mig”

17. “Grant ser jag det på dina snövita bröst,
att inga småbarn de hava dem kysst”

18. “I hjälpen mej hem till mitt fädernesland,
ty mina husdörrar stå olästa för sann”

19. “Grant ser jag det på din snövita arm,
att du aldrig har burit nycklar i band

20. Å aldrig ska du komma till ditt fädernesland,
förrän du får sonen som skeppet styra kan

21. Å aldrig ska du komma till din fädernesby,
förrän du får dottern som silke kan sy”
- För lindar och för ekar i lunderna de gröna -

 Långlöte´s ballad (Proud Karin) – English translation

1. In Långlöte vale is the fairest of towns,
Where fifteen proud maidens do dwell,
´Midst the limes and the oaks, in the grove, on the green

2. The Danish king he came sailing by,
And hear little Karin in the birch-gove sing,

3. The king he asked his small pages two,
Who strikes on the gold harp so cheerily?

4. No one, lord liege, strikes the gold harp-string,
´Tis fair Karin herseld who sweetly doth singm

5. Then the Danish king leapt upon the white sand,
And in the oak grove took Karin´s fair hand

6. I pray you, fair Karin, sing a ballad for me,
As I sit and repose beneath the oak tree
 
7. Proud Karin she sang a ballad so clear.
The oak-leaves they danced on the trees that stood near;

8. She sang him five lays, and when she sang ten,
The Danish king danced with all his court-men

9. Oh, hear me, proud Karin, will you drink to me?
That you can do and so grant my will

10. Oh, that would I do right willingly
But there are so many so look after me;

11. First comes my father, and then there´s my mother,
My two elder sisters as well as my brother
´Midst the limes and the oaks, in the grove, on the green

Karin[6]  yelds, quaffs the draught, and is carried off by the Danish king to his ship and they sail fast away from Öland. Next morn, when Karin wakes and combs her long hair, she begs piteously to return to Långlöte.

16. ”Oh, bear me back to my father´s hall,
I hear the cry of my children small,

But[7] the Danish king answers:

17. ”Full well I see by your snow-white breat,
No child have you to your bosom press´d”

Karin now tries a new dodge:

18. ”Oh, bear me back to my father´s land,
For my house-door doth open stand”

But , answers the king:

20. ”Ne´er shall you return to your father´s land,
Until you bear a son who con stir the ship”

21. ”And ne´er shall you return to your father´s
Until your bear a daughter who can sew silk
´Midst the limes and the oaks, in the grove, on the green”

 


[1] Rygert, Göran; Weinhardt, Lars. Ölands folkliga visor och melodier genom tiderna, Lidingö Öfolk, 1987.

[2] A form of conscription to organise coastal fleets for seasonal excursions and in defence of the realm, typical for Medieval Scandinavia.  

[3] Literally “nail barrel”. Torture method consisting in a barrel with nails that were hammered from the outside with the idea that when the barrel was set to roll down a hill or tied to a horse, the person trapped inside would get hurt by the nails.

[4] This place´s name means “the chapel´s ness”

[5] The English translation is based on that rendered by Horace Marryat on his book “On year in Sweden – including a visit to the isle of Götland”, London: 1862.

[6] Marryat omits stanzas 12-14 and instead narrates the events mentioned there. The stanzas can be translated as follows: “12. The Danish King took sweet Karin in his arms and took her on board the big ship” “13. And the Danish kung sails from Långlöte harbour, he offered a pot of the shiniest ore” “14. Proud Karin fell asleep in the arms of the King, and she woke up only once in Danish land arrived” “15, Proud Karin wakes up and combs her hair; May god have mercy for the words I spoke yesterday

[7] Marryat omits stanza 19: “Full well I see by your snow-white arm, that you never wore keys in a bind”

Alla Fagra makes new songs for the (Swedish) winter!

Alla fagra has started a “vinterblogg” (yeah, you guessed it “winter-blog”) where they will post 7 (!) new songs with a wintery theme before Christmas. 

They Write:  “För oss som bor i Norden är tiden runt jul den kallaste tiden på året. Vi tror att oavsett vem du är, är det extra viktigt med något som värmer, inte bara utanpå utan även inuti. Alla Fagras musik har sin grund i den svenska folkmusiktraditionen men färgas ständigt av omvärlden. Nu vill vi skänka värme till alla som fryser när snön yr runt husknuten. Vi är alla fagra!”

In translation, “For us who live in the Nordic countries, the time around Christmas is the coldest in the year. We believe that no matter who you might be, it is extra important to have something that keeps you warm, not only on the outside but also within. Alla Fagra´s music finds its ground in the Swedish folk music tradition but it is constantly coloured by the surroundings. No we will give away warmth to all who freeze when the snow swirls around the corner of the house. We are alla fagra/all beautiful!”

 I strongly recommend you check them out, at the moment there are four of them and cannot decide which is better…

Alla Fagra´s Vinterblogg 

Gunnar Stenmark: Maker of Swedish folk fipple flutes

The craft of luthier, or instrument maker, is certainly not for everybody. Instruments made from well-seasoned woods by experienced hands in tiny and cosy workshops have a completely different soul than the mass-produced instruments that leave the factory every day. The luthier who knows what he or she is doing will produce an instrument that is going to be unique, simply because the manual processes carried out and especially the energy put to the task vary in every occasion.

Moreover, there are some luthiers who produce instruments that factories cannot or do not even care to produce. In these cases, it is thanks to the instrument makers that some instruments survive to our days, and sometimes they are even reborn. Such is the case of Gunnar Stenmark, a very talented instrument maker from Ås (Jämtland, Sweden) who specializes in traditional and newly-developed folk wind instruments.

Gunnar earned his fame for building härjedalspipor but he also builds offerdalspipa, bjårkspipa, caval, åspipa, stenlundapipa and månmarkapipa . He is also a member of the band Glamaleik and became a riksspelman in 2007.

I own two fipple flutes made by him: a månmarkapipa in A and an offerdalspipa in E. Both are of really good quality and produce an astonishing sound and tone. The månmarkapipa is a 7-hole variety of the härjedalspipa, which adds an extra semitone below the keynote (which in my case would be a G#). This modification came as a suggestion by probably the most well-known Swedish piper, Göran Månsson, because there are many Swedish folk melodies that have this interval. As a result of this joint-project of research and manufacture the flute bears part of both their last-names (månsson+stenmark = månmarkapipa).

Here follows a video I made with pictures of a trip to Skåne and Öland (Sweden) and where I play a melody of my own on the månmarkapipa. It is entitled “Ett Vallspel” (A shepherd´s tune):

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If you would like to have a månmarkapipa (or any other Swedish whistle) of your own, you can order them directly from the maker here 

Some of the different whistle Gunnar Stenmark makes

 

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