Tuesday, September 27, 2016

Notes on psalmodikon and Swedish hummel in Stig Walin's "Die Schwische Hummel."

Important discussion below of the relationship between a Swedish hummel and a psalmodikon on my Facebook feed this morning. Link here or click on permalink address just below this screenshot to see the original:

https://www.facebook.com/peter.ellertsen/posts/1746168588977513

Background: This morning I posted to Facebook my pictures of the Dillner Museum behind the church in Östervåla, and Gunnar Fredelius questioned whether the instrument identified in the museum as a hummel toward the end of my photo album wasn't really a psalmodikon. This led to threads on my FB feed and Gunnar's, where he had posted a copy of my pix.

Upshot: I quickly agreed the instrument in question was a psalmodikon, but one with a body shape modeled after a hummel -- at least it resembles my Frisian hummel (Friesische Hummel) made by Willfried Ulrich of coastal East Frisia in Germany (pictures at http://s642275850.website-start.de/neue-hummeln/). I'll won't repeat the thread here. Instead I'll link to:

In the process of researching the Ostervala psalmodikon, I consulted Stig Walin's "Die Schwedische Hummel" and copied his discussion of psalmodikons below, along with an unedited Google translation. Rely on it at your peril, but it'll give you a rough idea of what he says.

If I am reading Walin correctly, both the hummel and the psalmodikon traced their origins back to the medieval monochord and a related folk instrument in parts of northern Europe called a långspel. (The word is Swedish, and I think it might be a generic term for an stringed instrument played lengthwise -- i.e. up and down a single string over a fretboard on the long side of the instrument. Cf. Icelandic langspil.) Like an American dulcimer or any other instrument where the melody is played on a single string.

Långspel and långharpa are also words for the hummel (see discussion in Wikipedia, which is unusually informative, at https://sv.wikipedia.org/wiki/Hummel_(musikinstrument): "Hummeln är ett (troligen medeltida) instrument som funnits i hela Europa i lite olika varianter. Instrumentet var vanligt i Nederländerna, Nordtyskland och Danmark under 1700-talet. I svensk bondekultur finns belägg för instrumentet först från 1600-talet och det verkar ha förekommit mest i de södra delarna. Under 1800-talet ansågs hummeln vara ett primitivt bondeinstrument och dess popularitet avtog men några entusiaster har, med start från 1970-talet, återupptagit traditionen att spela hummel." [Google trans.: Hummeln is a (probably medieval) instruments that existed throughout Europe in a few different directions. The instrument was common in the Netherlands , northern Germany and Denmark during the 1700s. In the Swedish farming culture is evidence of the instrument to the 1600s, and it seems to have been mostly in the southern parts. In the 1800s it was considered Hummeln be a primitive peasant instruments and its popularity waned, but some enthusiasts have, starting from the 1970s, resumed the tradition to play Hummel.]

Source: Stig Walin, Die Schwedische Hummel: Eine Instrumentenkindliche Untersuchung. Stockholm: Nordiska Museet, 1952. Ethnomusicology http://allourmusic.wordpress.com/2013/03/05/wallin_hummel/. pp. 95-96.


Unedited English translation by Google. Use at your own risk. [One example will suffice: When the text refers to "bumblebee," it is Google's translation of the name of the instrument. The name comes from the buzzing sound made by the drone (bourdon) strings.] I am putting these pages, Walin's only mention of the psalmodikon, up on the blog for convenient access. I am not attempting a translation.

Around 1830 began the incredible fast triumph of Psalmodikons over the areas.1 The instrument was developed by the powerful revivals of 40s and the following decades put into use. but Still the Tonwerkzeug could never so quickly can spread and would in the tradition-bound Rural population never come to immediate application, if not the bottom of the related older zither type Hummel as good would have been prepared. As a popular Tool of a purely secular musical culture (Including dance) had the Hummel many places as hard considered a sin and therefore burdened aside been pushed or simply destroyed be 2 to instead of Psalmodikon to be replaced, the 3 t the beginning of A an instrument for worship and house devotion was. Where the Hummel despite everything further held that both types could be confused.

The Hummel was also certain constructional details of Psalmodikons acquire. The right in Fingerboard cut chromatic Bund series at G 40 we have already by above as a sign of the influence the Psalmodikon angenommen.4 Maybe has the same effect at the chromatic (re) grouping the frets at G 2 9 5 asserted, the instrument I. Westerlund, the various religious purposes served. W hen but also to Psalmodikon victoriously penetrated, it possessed but far from the same tradition force as the bumblebee.

* * *

This is, inter alia, from his Mold development produced. Dill Ner original instrument supposedly now in N M under N r. 14152 is, has an elongated body with straight sides and the same width Later the web as in Sattel.6 but the Psalmodikon was often with extensions and bulges of various Article provided. but these have not the formal unity and the organic Beauty, which bulges the the native bumblebee ajjszeichnen. It often seems as if they quite by accident and not natural Way from the actual basic shape developed hätten.7 In the rich flora of this form Psalmodikons can be of different influences feel sides - in a few notable cases of the Bumblebee! Three Psalmodikon in Västergötland Museum, Skara, N r. 13754, 41966 and 45778, with respect to the outer body shape a side bulged Hummel's amazing ähnlich.1 order but it is not enough. also regarding the size they close the Hummel at. Dill former Psalmodikon has a gr. L. 1027 mm.2 The three about equally large instruments in Skara are However, considerably shorter. No. 41966 has a gr. L. 810 mm. The gr. L. of Most native bumblebees is between the limits 692- 890. The Psalmodikon therefore closes this Plurality of. According to the catalog information originates the instrument of Vastergotland, 3 of the landscape, in the "långspel" already on widespread at the beginning of the 18th century was, of which we only a bumblebee (G 26) have registered. The Psalmodikon however, shows that the Hummel tradition in the countryside in the 19th century was strong. Perhaps one could even the "långspel» -Tradition say. The length of the "långspel" was about 890 and the width of about 223 mm. The corresponding V alues ​​of Psalmodikons N r 41966 are 810 and 215 mm.

W hen we now again the question over the age of zither instrument from Type Hummel turn in Sweden, we must say that a type of instrument, already at the beginning of the 18th century. Century in at least a portion of the spread Swedish country areas and was popular and then in spite of all unfavorable conditions around the country one such striking force Tradition showed spoken of here, that such type of instrument, as already indicated, a local history must have that far out stretched on the said date. The sources of this ancient history but are difficult to access and uncertain. One reason for this is the terminology Ambiguity. Google Translate for Business:Translator ToolkitWebsite TranslatorGlobal Market Finder

Monday, September 26, 2016

Hör hur tempelsången stiger [Herre, signe du och råde in gammal psalmbok, No. 500 in Wallin's 1819 psalmbook)

Hör hur tempelsången stiger - Jens Fredborg https://www.youtube.com/watch?v=9AdDkNkLHkY

[Fredborg also gives titles: Giv, o Jesus, fröjd och lycka - Ljus av ljus, o morgonstjärna.]

The last song the Nordiska Psalmodikonförbundet played at Östervålakyrka was Hör hur tempelsången Svenska Psalmbok (1986), No. 77. It's very old, dating back to the gamla psalmbok of the 1690s. Wikipedia has the background at https://sv.wikipedia.org/wiki/Herre,_signe_du_och_r%C3%A5de. The last verse, beginning "Herre, signe du och råde," has been commonly used as a benediction or "sending" song -- although the other verses have swapped around considerably in the 1819, 1937 and 1986 hymnals. Says Wikipedia:

Herre, signe du och råde (även känd som Du som fromma hjärtan vårdar, Hör hur tempelsången stiger och Dagar komma, dagar flykta) är en psalm ursprungligen skriven av Jesper Swedberg 1694, som utökades med sex verser av Johan Olof Wallin 1816.

I 1695 års psalmbok utgjorde Swedbergs vers "Herre, signe du och råde" den sista psalmen (nummer 413 under rubriken "Om thet ewiga Lifwet"). Även i 1819 års psalmbok och 1937 års psalmbok stod psalmen sist (som nr 500 resp 600), men då hade Johan Olof Wallin lagt till ytterligare sex verser, så därmed fick den titeln "Du som fromma hjärtan vårdar" med Swedbergs sista vers som ståvers.

I Den svenska psalmboken 1986 ströks de två första verserna och psalmen gavs inledningen "Hör hur tempelsången stiger" som psalm nr 77 i den ekumeniska delen av psalmböckerna 1986 års Cecilia-psalmbok, Psalmer och Sånger 1987, Segertoner 1988 och Frälsningsarméns sångbok 1990.

* * *

Särskilt sjungen är Jesper Svedbergs vers, "Herre, signe du och råde", som dels var självständig psalm i 124 år, dels ofta fick avsluta folkskolans arbetsdagar i minst ett sekel till.

Med ursprunglig stavning löd versen 1695:

Herre signe tu och råde Och beware nu oss wäl Herre titt Ansicht i nåde Lyse altijd för wår siäl! Herre Gudh titt Ansicht wänd Och tin frijd oss allom sänd! O Gudh Fader, Son och Ande Tigh ske prijs i allo lande!

Melodi i psalmboken av Johann Schop ur Himmlischer Lieder från 1642 (F-dur, 2/2, samma som till Gud, i mina unga dagar och mest känd som melodin för just "Herre, signe du och råde".) Redan i 1697 års koralbok anges att melodin är densamma som för psalmerna Giv, o Jesus, fröjd och lycka (nr 139), Helge Ande, hjärtats nöje (nr 184), Ack, vi ästu dock så blinder (nr 278), Ljus av ljus, o Morgonstjärna (nr 356), Öpna tigh min munn och tunga (nr 376), Var nu redo, själ och tunga (nr 377). Det tyska originalets titel är Werde Munter.

Sunday, September 25, 2016

Lutheran contemporary worship music links -- (with bonus track, "We come now to the hungry feast ...")

D R A F T

Bonus hymn: "We Come to the Hungry Feast" by Ray Makeveer (WOV 766, ELW 479)

  • Lutheran Contemporary Music Resources. Victoria _________, pastor Trinity Evangelical Lutheran Church (ELCA) in Steelton, Pa. Blog post "... that I hope will be particularly useful for Lutheran pastors who are either trying to make a foray into the world of contemporary Christian music, start contemporary services, or who are trying to get their congregations to rock out with their Bach out." "Lutheran Contemporary Music Resources," Lutheran Moxie, Aug. 30, 2012. https://lutheranmoxie.wordpress.com/2012/08/30/lutheran-contemporary-music-resources/

  • True Vine Music! "Our mission is to provide Christ-centered, Biblically-grounded, contemporary worship songs for the church. We provide original congregational worship songs on many themes including Baptism, the Lord's Supper, and the Liturgy." [LC-MS] http://www.truevinemusic.com/lutheran.htm


Heard "We Come to the Hungry Feast" for the first time (at least the first time I was paying attention" in the traditional service at Peace Lutheran this morning. It's not Christian contemporary -- sounds almost like an American folk hymn, nice and melodious. Reminds me of Marty Haugen's liturgies, definitely a keeper.

Ray Makeveer a campus pastor at the University of Minnesota and music director at Lutheran churches in the Twin Cities, wrote it in 1984 for use in a communion liturgy. Sheet music (from ELW) at http://www.hymnary.org/text/we_come_to_the_hungry_feast.

Mary Munson, church musician of Camano Island, Wash., recorded the hymn for her choir at Camano Lutheran Church, as an aid in learning the tune. She has quite a few hymns, mostly from the ELCA's "cranberry book," Evangelical Lutheran Worshop, on her YouTube channel, plus occasional cat videos, including a piano transcription of Sergei Prokofiev's cat melody from "Peter and the Wolf." You can tell she has cats!

Friday, September 23, 2016

Psalmodikon player's repertory in fiddlers' contest (spelmans-tävlingarna) in Uppsala, 1912

‎Gunnar Fredelius‎ to Nordiska Psalmodikonförbundet, September 7 at 10:38am · https://www.facebook.com/npsalmodikonforbundet/posts/1063797997037441

Vid spelmanstävlingarna i Uppsala 1912 spelade August Eriksson upp på psalmodikon. Ebba Brahes brudvals och en gånglåt som kallades Tredjedag Jul. Jag försöker nu ta reda på hur de låtarna går.

Ebba Brahes brudmarsch är välkänd i gammelharpkretsar. Men Ebba Brahes brudvals vet jag inget om annat än att den sägs vara vacker.

Denna psalmodikonspelman hade följande repertoar när det gäller spelmansmusik. 4 marscher,1 skänklåt, 4 polskor, en mycket gammal brudpolska, 7 valser och tre galopper

Kuriosa: En spelman en gång i tiden, berättade att som liten spelade han psalmodikon. Vid ett tillfälle då han spelade i kyrkan hade han skadat en fot. Han stod därför på ett ben och spelade. Han sa "det var som det skulle. En sträng, ett ben"

Herr Prof. Google translates as follows:

At Spelmanstävlingarna in uppsala in 1912 played August Eriksson up on psalmodicon. Ebba Brahes Bridal Waltz and a gånglåt called Tredjedag Christmas. I am now trying to find out how the songs go. Ebba Brahes Wedding March is well known in gammelharpkretsar. But Ebba Brahes Bridal Waltz, I know nothing about other than that it is said to be beautiful. This psalmodikonspelman had the following repertoire when it comes to traditional Nordic Dance music. 4 Marches, 1 Skänklåt, 4 Polish, a very old brudpolska, 7 Waltzes and three galopper.

Factoid: A Fiddler, once upon a time, told me that as a kid, he played psalmodicon. At a time when he played in the church, he had a hurt foot. That is why he was standing on one leg and played. He said " it was as it should. A String, a bone "

BACKGROUND Spelmanstävling Wikipedia https://sv.wikipedia.org/wiki/Spelmanst%C3%A4vling:

En spelmanstävling är ett evenemang med tävlan mellan spelmän eller spelgrupper. 1906 anordnades den första i Sverige och de närmaste decennierna därefter blev detta sedan en fluga och runt om i landet ordnades en mängd sådana spelmanstävlingar, ofta i samband med andra evenemang, såsom utställningar, hembygdsevenemang, idrottsevenemang etc. [Google: A fiddler contest is an event with the rivalry between musicians and gaming groups. 1906 organized the first in Sweden and in the decades thereafter became then a fly and around the country held a variety of such folk competitions, often in conjunction with other events, such as exhibitions, local events, sports events, etc.]

more info, incl. list of annual events 1906-1945, including Uppsala, 1912.

Monday, September 19, 2016

Jeg ved en lærkerede -- Danish children's song on psalmodikon

Jeg ved en lärkerede [I know a lark's nest]

Gisli Olsen https://www.facebook.com/gisli.olsen/posts/1164484980289626 Facebook

Här spelar vi några verser av den välkända danska dikten "Jeg ved en lärkerede". Vi spelar "Grovt och grant", Solveig på sopran- och jag på alt-psalmodikon. Dikten är tonsatt av Carl Nielsen. [Trans. Google: Here we are playing a few verses of the famous Danish poem " jeg ved a lärkerede ". we play " rough and grant ", solveig on soprano and I on the alt-Psalmodicon. The poem is tonsatt by Carl Nielsen.]

According to Wikipedia (https://da.wikipedia.org/wiki/Jeg_ved_en_l%C3%A6rkerede), it is Denmark's best-known children's song. Composer Carl Nielsen arranged it:

Friday, September 16, 2016

Esbjorn: "I sow the seed in hope ..." -- cf. Reformed, Lutheran attitudes on new birth in baptism

"Last Years in Andover" p. 307, n5 -- Tidskrift, 1899, pp. 284f.

C.A. Blomgren, Review of Tidskrift for Svensk Ev. Luth. Kyrko-Historia 1899, The Lutheran Church Review, Volume 17 (1898), pp. 631-32.

polemic against Unionus ... a masterly polemic.


John Norton, ed. "Immigrant Pastor Lars Paul Esbjörn's 1851 Recruiting Pamphlet: Greetings to the Swedish, Norwegian, and Danish Emigrant." Swedish-American Historical Quarterly 60.4 (October 2009), pp. 167-73. http://collections.carli.illinois.edu/cdm/ref/collection/npu_sahq/id/5955

... At home, you perhaps did not ask much about the welfare of your soul. You were perhaps satisfied, when no one could bring you to commit a major criminal act ... theft, murder, adultery, swearing, breach of the Sab-bath, and such ... or that you were no worse than others. You perhaps thought that all was well, when you were called “Christian” and went to church and Communion. O, my countryman! Thousands upon thousands of souls have gone to eternal damnation, because they trusted such weak grounds for faith, and wandered the broad road with the masses. (Matthew 7:13). And if you never before cared 170 about Jesus’ words, that without being saved, and become as chil-dren, you will not come into Heaven (Matthew 18:3), do it now. Now you have arrived at completely new conditions, you have come to a land where people generally are not content with the externals and form of Christianity: now you have the best opportunity in the world to convert yourself, so that your soul may be saved from the coming wrath (Matthew 3:7). Do not ever believe that a human, who by knowingly sinning breaks their baptismal compact, can be saved without conversion. There are certainly thousands of people in all the cities and parishes of Sweden, Norway and Denmark who believed this, but it is against God’s word, and God’s word shall not perish, even if heaven and earth shall perish. (Matthew 24:35). No, if you have not been converted before, you have never experienced any anguish in your heart for your sins, and have no fear of damna-tion, as well as having a new, blessed life in your heart, then hasten to turn yourself to Jesus Christ; like the Lost Son, confess your sins to Him (Luke 15) and pray for grace and forgiveness in His name, so you may be given grace to become a child of God, so that your soul dies in grace, when you are called home.

* * *

You believe, according to God’s word that your children were born again in their baptism, through Jesus’ righ-teousness and forgiveness. You will find few outside the Lutherans who believe that way. When you take communion, you find a blessed comfort in the truth that the body and blood of Our Savior are truly present in the bread and wine; but other congregations in this coun-try, except the Lutheran, say that the bread and wine are only sym-bols or signs of Jesus’ body and blood, and that Jesus’ body and blood are partaken of only spiritually and in a heavenly way, by faith, and in many other respects. Thus, stay with that to which you have already come, and if you accept anything else, let God reveal it (Phil. 3:15-16), and do not accept it from men, however learned, pious or good they may be. Take these words of welcome to heart, dear countryman! They are spoken in heartfelt concern for you, and for the spiritual well-being of your children, by one who has carefully tested the teachings of this land, who wishes to see the true light of God’s word shine among his countrymen, and who shall finally answer to God if he fails to educate and watch over his brothers. We shall there, before 173 God’s judgment throne, see each other again, and have eternal joy with Him, if we have been his children and faithfully kept the profes-sion of hope (Hebrews 10:23) until the end. Yes, Amen, so be it! In the northern part of Illinois there are many Swedes, hundreds, especially in Andover, Henry County, Rock Island, and Moline on the Mississippi. There are even three Evangelical Lutheran congrega-tions, at Andover, Moline and Henderson, served by God’s word and the Holy Sacraments, by a Swedish pastor, sent by the Swedish Mission Society in Stockholm, and truly ordained in his holy calling. Other sects and parties are also found in the area, but do not hold the pure faith. The surest sign of a congregation or teacher is that they recognize the Lutheran church’s symbolic books as containing God’s word and true teaching. The way to Andover is from New York to Albany by steamboat; to Buffalo by canal boat or railroad; to Chicago by steamboat; to Peru or LaSalle by canal boat; and to Andover by land using rented or, better yet, purchased horses. Those who can leave Sweden in the fall by sea to New Orleans, can in the spring quickly and easily come by steamboat up the entire Mississippi to Rock Island and Moline. During the winter there are good work opportunities in New Orleans and St. Louis, but during the summer it is unhealthy there. Printed in New York by H. Ludwig & Co., 1851.

Thursday, September 15, 2016

Five pounds of possum/wild mountain thyme -- two for Clayville-Prairieland slow jam and tune learning sessions

D R A F T

TENNESSEE MAFIA JUG BAND "Five Pounds Of Possum," Franklin, Ky., 2011

xxx

http://www.gulfweb.net/rlwalker/dogwood/alltunes/Five%20Pounds%20Of%20Possum%20(D).pdf arr. R.L. Walker.

Michael Shull & Dave Holder, "Five Pounds of Possum," Lexington, S.C., 2011


WILD MOUNTAIN THYME

http://www.gulfweb.net/rlwalker/dogwood/alltunes/Wild%20Mountain%20Thyme%20(D).pdf arr. R.L. Walker.

As performed by Dick Gaughan, Emmylou Harris, The McGarrigles and Rufus Wainwright on BBC-4's Transatlantic Sessions.

From Transatlantic Sessions, 1st Series, 1996, BBC-4 Television