Thursday, February 26, 2015

Carl Michael Bellman, Fredman's Epistel N:o 2 -- "Nå skruva fiolen" / "So Screw Up The Fiddle"

I'd better explain -- yes, "Nå skruva fiolen" translates into English as "screw up the fiddle," but what it means is tune up the fiddle, i.e. tighten up the tuning pegs.

FREDMANS EPISTEL N:o 2. Til Fader Berg, rörande Fiolen. "Nå skrufva Fiolen …"

Martin Best - So Screw Up The Fiddle Epistle No 2 Bellman In English. Martin Best sings the "Epistle of Fredman No 2"(Original title:"Fredmans Epistel No 2 "Nå Skruva Fiolen" written by the Swedish poet and composer Carl Michael Bellman(1740-1795)

Carl Michael Bellman Nå skruva fiolen FE no 2. Den Högskoleförberedande linjen på RML har gjort egna arrangemang på svenska visor och framför här sina tolkningar inför publik.

Lars Hedberg sjunger Bellman. With nyckelharpa backup.

Fredmans Epistel Nr.2 (Live @ RML).

"The Marais Project's take on Swedish songwriter, Carl Michael Bellman's "Fredman's Epistel No 2". The song is about Bellman's love of wine, woman and the fiddle! With Pascal Herington ‐ tenor; Melissa Farrow ‐ baroque flute; Fiona Ziegler ‐ baroque violin Tommie Andersson ‐ theorbo and original 1820s classical guitar; Jennifer Eriksson ‐ viola da gamba. Arranged by Tommie Andersson." The Marais Project is an Australian early music group.

Per Malmborg - Nå skruva fiolen - Epistel n:o 2 - Carl Michael Bellman.

Tuesday, February 24, 2015

Companion to Svenska Psalmbok of 1819

Studier i psalmboksfrågan med särskild hänsigt till 1889 års kommittéförslag till reviderad svensk psalmbok. Ed. Fridolf Nathanaël Ekdahl. Lund: Collin & Zickerman, 1893 (Google eBook).

Bach -- Cantata 140, Wachet auf ... / Sleepers Awake


Bach - Cantata 140: Wachet auf, ruft uns die Stimme, BWV 140 (1731)

Boy Soprano: Alan Bergius Tenor: Kurt Equiluz Bass: Thomas Hampson Chorus master: Gerhard Schmidt-Gaden Tölzer Knabenchor Conductor: Nikolaus Harnoncourt Concentus musicus Wien Music "Cantata No.140 Wachet auf, ruft uns die Stimme BWV140 : IV Chorale - "Zion hört die Wächter singen" [Tenor]" by Nikolaus Harnoncourt (Google Play • iTunes • AmazonMP3) Category Music License Standard YouTube License

Saturday, February 21, 2015

"Sandy Boys" -- an A Mixolydian fiddle tune ... with thoughts on capos and breaking out of the "D for dulcimer" lockstep


Highlight (for me) of Mike Anderson's Winter Weekend mountain dulcimer festival in Chillicothe, Ill., came while I was in the car heading back to Springfield and two previously unrelated thoughts bumped up against each other in my mind -- driving the interstates will do that for you -- and, CLICK!, there was a brand-new thought.

At Mike's suggestion, I took Dave Haas' intermediate class. I don't particularly like the standard DAD mountain dulcimer tuning, but Mike thought I might get something out of the class. And of course he was right. Here are a couple of the somethings:

  • One of the tunes we played Friday night was "Sandy Boys." We played it in D Mixolydian, but I remember it from East Tennessee as one of those fine old "A modal," or Mixolydian, fiddle tunes that make the hair stand up on the back of your neck. We went over it so many times, it got to be an earworm. And then back in the motel I liked it so much, I got out the tablature and went over it again to keep the earworm going.
  • So the next morning I asked Dave if I could get A Mixolydian by retuning from DAA to EAA, and he said yes -- but

Dulcimer - Hangman's Reel and Sandy Boys - Will Manahan and Dave Haas - OVG 2013 (2/3). Dave, who played backup guitar and posted this video to YouTube on his channel davehaasmusic, says, "Will Manahan (dulcimer) and Dave Haas (guitar) play a medley of "Hangman's Reel" and "Sandy Boys" at the Ohio Valley Gathering, held March 15-17, 2013, in Lexington, KY. Will received a standing ovation for his performance and was asked to play another tune. Thanks to the Louisville Dulcimer Society for hosting this wonderful festival."

"Sandy Boys" begins at 1:00. "Hangman's Reel" is another fine old A-modal fiddle tune.

Sandy Boys - Alan Jabbour and Ken Perlman. brucefromga's channel "Alan Jabbour and Ken Perlman playing a house concert for Charlotte Folk Society, Nov. 2011. Edden Hammons tune."

"Sandy Boys" on the "Country" Dulcimer by Ben Seymour. Ben, a luthier from western North Carolina, shows off a new dulcimer and plays the tune in D mixolydian, with a variation in the B part that I remember hearing -- and really, really liking -- back home. "Sandy Boys" begins at 1:00.

Sheet music. Lead sheet with guitar chords in abc notation -- with MIDI file (click on "live broadcast" to hear).

To print, click on "download … png." On my Mac, I enlarge it to 125% before printing.

Andrew Kunz' Fiddlers' Companion website has the background -- plus all the lyrics you could want, and even more! Go to and scroll down the directory:

SANDY BOYS. Old‑Time, Breakdown and Song. USA; Kentucky, West Virginia. A Mixolydian. AEae tuning. AB (Silberberg): ABAB'A'BAB (Krassen). A tune from the repertoire of Pocahontas County, West Virginia, fiddler Edden Hammons. The original, however, appears to be in the American minstrel show repertoire, for a similar version (though different in the ‘B’ part from Hammons’ tune) can be found in Phil Rice’s Correct Method for the Banjo (1857), a period tutor, and also appears an 1844 minstrel songbook (reproduced by Harvard Theatre College Collection, Cambridge, Mass.). Gerry Milnes has found ribald words accompanying the tune in West Virginia. The modern “revival” or “festival” version may have stemmed from a ‘mislearning’ of Hammon’s tune by Bob Herring. See also Missouri fiddler Gene Goforth’s related “The Quail is a Pretty Bird.” Carl Baron supplies the following lyrics, sung, in whole or part, to the melody (although it will be recognized there are quite a few ‘floating’ verses):
Sandy Boys
Raccoon's got a long bushy tail.
Possum's tail is bare.
Rabbit's got no tail at all
Just a little bit a bunch of hair.
Squirrely he's a pretty thing
He carries a bushy tail
Eats up all the mossy's corn
And hearts it on the rail
Do come along, sandy boys
Do come along, oh do
Do come along, sandy boys
Waiting for the booger-boo

There are several other verses.

Friday, February 13, 2015

Norelius on psalmodikon in St. Paul and Vasa, Minn.

Blundered into on the Internet -- when I was looking for something else -- and posted to the blog so I can find it later …

Eric Norelius, turn-of-the-century president of the Augustana Synod and historian of its early days, displayed a wry, understated sense of humor. Below are: (1) my translation of his account of worship services at First Swedish Evangelical Lutheran Church in St. Paul in 1860 and 1861; and (2) quotes from Norelius' published accounts of the early days.

In the 1860s Norelius was a circuit rider based in Vasa, just west of Red Wing, Minn., and for a while in St. Paul. His recollection of his first Christmas in Minnesota appears in several of his reminiscences. This, notably, in the 50th anniversary album of First Swedish Lutheran Church in St. Paul:

… We had our services in a little room in the German Humeberg's house directly behind the church. Julotta 1860 was extraordinarily pleasant and edifying. The little teacher's desk was tastefully covered, and the little room was radiant with light. John Johansson, nephew to Dr. Hasselquist, was our parish clerk and organist, and a psalmodikon made out as [utgjorde] our organ. When we subsequently moved to another place, one man took the pulpit on his back and another the psalmodikon under his arm, and the chore was over. (Jubel-Album 44)
[My translation.]

Humeberg was a German landlord. Dr. Tufve Hasselquist, then of Galesburg, later became one of the founders of Augustana Synod.

Eric Norelius. The Pioneer Swedish Settlements and Swedish Lutheran Churches in America, 1845-1860. Trans. Conrad Bergendoff. Rock Island: Augustana Historical Society, 1984.

On October 25, 1860 the congregation met to elect a pastor and issued a call to Pastor E. Norelius. There was no prose of a salary but the congregation agreed to pay $5 a month for the pastor's rent, as well as arranging for the place. It was understood that the pastor was to have his headquarters in St. Paul and serve the congregation when he was home, otherwise he was to serve as a traveling missionary in the parts of Minnesota he was able to reach. A committee was appointed to hire an appropriate place for services, and it succeeded in renting a small room, almost a closet, from a German, Henneberg, a little north of the present location of the church.

… The congregation was small, consisting of only 13 communicants in the summer of 1860, but grew slowly. Peace and unity prevailed, and the devotional hours in the small chamber were delightful and refreshing. Mr. John Johnsson led the singing, often with the help of a psalmodikon. The Christmas morning service 1860 was especially uplifting. The small pulpit was tastefully decorated, the small room was radiant with light, but the greatest joy was in the happiness with which the Word of God was received. The two most important achievements of the year were the acquiring of a lot for a church and the adoption of the normal congregational constitution. (311)

In his autobiographical Early Life of Eric Norelius, 1833-1862: A Lutheran Pioneer, trans. Emeroy Johnson (Rock Island: Augustana Book Concern, 1934), Norelius quotes from De Svensk Lutherska Församlingarnas Historia -- essentially the same account 13 members, "Peace and harmony prevailed …" -- services "pleasant and refreshing" -- "Mr. John Johnson (a nephew of Dr. Hasselquist) was our song leader, and sometimes he accompanied on a 'psalmodikon.'" -- julotta in 1860 -- "The services were being held in a building rented from a German by the name of Henneberg. It was located on the street directly back of the present First Lutheran Church of St. Paul" (287).

Cf. Emeroy Johnson, Eric Norelius: Pioneer Midwest Pastor and Churchman (Rock Island: Augustana Book Concern., 1954), p. 92: "In a rented room located in the area where the railroad yards are now, Norelius held a joyful Julotta service on Christmas Day, 1860. Lights and decorations helped to make it a festive occasion for all. John Johnson, a nephew of Pastor Hasselquist, led the singing, playing the hymns on his psalmodikon."

Monday, February 09, 2015

Augustana seminary Chicago 1860-63

C.W. Foss, "The First Days of Augustana College," The Alumnus, Alumni Association of Augustana College, Rock Island. Volume 1 (1892-93), pp. 2-4 (Google eBook)

Saturday, February 07, 2015

What's a psalmodikon?

Talking with another historian in Springfield today, I realized I don't have anything on the blog explaining what a psalmodikon is and how it was played. Wikipedia has a page at, with some of the basics.* And I have several pages on Hogfiddle with the specs for specific instruments and other arcane knowledge, including details on my presentation "The Psalmodikon -- Pastor Esbjorn's Singing School" April 25 in Andover. But nothing I could point my friend to.

So … better late, I guess, than never:

A psalmodikon (pron. sahl-MOWD-i-kon) was a monochord, or one-string box fiddle, used by Scandinavian church musicians to help keep singers on pitch when they were learning new hymns. They were used primarily for choir practice and home services (husandakter) in the early to mid-1800s, falling out of use as more congregations were able to afford pump organs for worship. In Sweden, they were influenced by the hummel -- a box zither similar to a mountain dulcimer -- and they are fretted diatonically like a northern European hummel or an American dulcimer. They were brought to the U.S. by Swedish and Norwegian immigrants.

Here's what one looks -- and sounds -- like. The still picture below illustrates a YouTube audio clip of a psalmodikon ensemble in Stockholm playing an old Swedish hymn called "Din klara sol går åter pop" [the glorious sun doth arise]:

Explains YouTube user Martin Magnusson (in Swedish, followed by English translation): "Din klara sol går åter opp ... ett smakprov från Nordiska psalmodikonförbundets CD-skiva Psalmer och visor på psalmodikon inspelad i Stjärnhov i juli 2010. Kan beställas från NPsF hemsida" [The Glorious Sun Doth Arise … a sample from the Nordiska psalmodikonförbundet's CD Hymns and songs on the psalmodikon played in Stjärnhov, July 2010.]

In recent years, the instrument has been revived by primarily Norwegian-American groups in the St. Paul-Minneapolis area, who are members of the Nordic-American Psalmodikonforbundet, and in Sweden by the Nordiska Psalmodikonförbundet. Their websites are linked below.

Notation. One of the psalmodikon's selling points was a system of tablature called "siffernoter" [numerical notation] that substituted the numbers for different degrees of the scale -- the second, the third, the fourth, the fifth and so on -- in place of the notes on the lines of a musical staff like in standard notation. "Din klara sol …" looks like this.

And here, for the sake of comparison, is "Din klara sol …" in standard notation, as seen in the Augustana Synod's 1892 edition of the 1819 Svenska Psalmbok:

They've transposed it, from E-flat in Dillner's siffernoter to D in the 1892 hymnal. But the tablature doesn't change -- to change keys on a psalmodikon, you would just retune the melody string from Eb to D. I am betting that would have been very useful for pastors in little churches out on the prairie who might have to accommodate the singers in a small choir from time to time.


* I should add: I would definitely change one of Wikipedia's "basics." They spell "psalmodikon" with a "c," but the word is spelled with a "k" in English, Norwegian and Swedish alike. The "p" at the beginning of the word is optional in Norwegian, for reasons too complicated to go into here, but nobody since the 1850s has spelled the name of the instrument with a "c." Nobody.

Tuesday, January 20, 2015

Korsbaneret -- misc. clips, obits about Augie, Chicago, Andersonville

Directory for Korsbaneret, Kristlig Kalendar, 1881-1950, in the Hathi Trust Digital Library

[HathiTrust is a partnership of more than 100 academic & research institutions, offering a collection of millions of titles digitized from libraries around the world. Pron. HAH-TEE.]

History of Immanuel Sv. Luth Kyrka i Chicago in 1881 and 1882

Augie mentioned in 1882, pp. 157-59.

Edgewater Historical Society has excellent neighborhood histories:

Transportation was crucial to this development. The Chicago and Northwestern Railroad originally had stops at Summerdale (Berwyn), Rosehill Drive and just south of Granville. Prior to 1908, the trains ran on the ground level. Beginning in 1892, as traffic increased, the train embankments were built to make travel safer on the roads intersecting with the tracks. By 1900, the Clark Street trolley ran north to Devon and south to 111th street, thus creating an important link across the city. This Clark Street trolley line was one of the last to be withdrawn from service.

In the late 1950s, Grant Johnson, a businessman on Clark Street, suggested that the district reestablish the name “Andersonville” for the area. In the early 1960s the Clark Street Businessmen’s Association changed its name to the Andersonville Chamber of Commerce. In 1972, the East Andersonville Residents Council was formed to include the area.

In the past 40 years, many ethnic groups have settled in Andersonville area including Mexican, Korean, Greeks, Persians, Japanese, South Americans, Vietnamese and Thai. Each of them contributes to the strong, unique identity that the Andersonville name retains today.

"Group Brings Atmosphere of Scandinavia to Area." Chicago Tribune 20 Sept. 1964

"Kurt Mathiasson, Restaurant Owner" Chicago Tribune 10 March 2000">

A resident of the Andersonville neighborhood since he moved from Goteborg, Sweden, in 1963, Mr. Mathiasson could make quite an impression, said his son, Kurt S.: "He was kind of like a 70-year-old Viking." A burly, smiling man with curly blond hair down to his collar, Mr. Mathiasson liked to break the ice with strangers by telling a few jokes, though he often as not started laughing before reaching the punch line.

He came to America for the promise of greater opportunities and held a number of jobs when he first arrived, including working as a painter and owning a day care center.

But he really began gaining notoriety when he opened Svea restaurant (named for the tribe that gave its name to Sweden) in 1972, and the Swedish-American Museum Center four years later. Among the art displays, historical information and old Viking garb, Mr. Mathiasson's museum also featured exhibits on the creations of Swedish inventors, which included, among other things, the log cabin, dynamite, ball bearings and the zipper. "He wanted Swedes to know and understand their heritage, and he wanted to share that heritage as well," his son said.

Andersonville Mourns Community Leader Edgewater Historical Society 11.3 (Summer-Fall 2000)

Kurt Mathiasson immigrated from Goteborg in 1963, purch. Svea in 1970s

Kurt’s involvement with Andersonville began in the early 1970’s when he purchased Svea Restaurant at 5236 N. Clark. The neighborhood, which was settled by Swedes near the turn of the century. Kurt, however, got some idea he was going to reclaim Andersonville for the Swedes. Kurt began by dedicating a wall in his restaurant to the history of Swedes in Chicago.

With the Bicentennial celebrations of 1976 came a planned visit by Sweden’s King Carl XVI Gustaf to the United States. It was time for a museum. A storefront was available at 5248 N. Clark and Kurt recruited the Andersonville Chamber of Commerce, of which he was a member to help raise funds. Sweden’s King Carl Gustaf dedicated the Museum on Easter Sunday, 1976. By 1988, the Museum needed to expand and moved to the former Lind Hardware building, at 5211 N. Clark.

* * *

Along with achievements as a community builder and diplomat, Kurt was famous for his congeniality and sense of humor. Along with the jokes Kurt often had a guitar slung over his shoulder. He could play any instrument by ear with tunes from Swedish folk to gospel. Kurt made you feel like family when you came into the restaurant. He helped restore a needed sense of direction to the community. He helped make the neighborhood a better place for everyone as well as for the Swedes. Mathiasson is survived by wife Solveig, sons Lars (Anicka) in Sweden and Kurt S (Esparanza) daughter Kristina (Dell) Oenning and seven grandchildren. Kurt’s ashes were returned to Sweden and scattered there at a family memorial on March 31, 2000.

Reprinted with permission: Andersonville Together May, 2000

"`Mayor Of Andersonville` Dominick Lalumia, 97" Chicago Tribune 8 Dec. 1991

Mr. Lalumia was a force in the revival and development of the Andersonville area at Clark Street and Foster Avenue, said his daughter Dorothy Olson. The Inn, which closed in 1977 after 44 years in business, was at 5240 N. Clark St.

Known unofficially as ``The Mayor of Andersonville,`` Mr. Lalumia is remembered as the man who walked Clark Street every morning at 10, ringing a bell to alert shopkeepers to come out and sweep their sidewalks, his daughter said.

``He really believed in the neighborhood and was its greatest booster,`` Olson said. ``He organized the banners on the poles and marched in every parade.``

Nordstjernan -- undated but probably 2008 --

The Swedish American Museum in Chicago.

In 1976 Kurt Mathiasson founded a small museum in a storefront log cabin, in which family histories were collected. A decade later the Swedish American Museum Center opened

A decade later the Swedish American Museum Center opened at its current location. With a mission to preserve and present the Swedish American heritage in the U.S, the Swedish American Museum Center offers a multitude of programs as well as the interactive Children’s Museum of Immigration. The first smaller museum had some 2,500 visitors. Today the museum has 43,000 visitors a year (2008) and is an important component in the Swedish Anderssonville community, on the north-side of Chicago. “We have 1500 memberships and 2000 members,” says Karin Moen Abercrombie, Executive Director. “Most of our visitors are 2nd and 3rd generation Swedes. Most people come to our permanent exhibition to learn about the Swedish immigration to the U.S. or they come to our arts exhibitions, which change four times a year. Then of course, families come to our Children’s Museum. I think the museum’s holiday celebrations are important to many and help keep the Swedish traditions alive – Midsummer, Lucia, and Christmas. We are also the ‘anchor’ for Swedes and Swedish-Americans here in Andersonville.”

Meeting place with traditions

Solveig Mathiasson, widow of Curt Mathiasson, says the museum has changed for the better lately. “Although many people keep coming back,” she says, “there’s a lot of new visitors, too, especially families. The museum is an important meeting place for Swedes, a meeting place with traditions.”

Read about the start in the words of the first and founding Executive Director: Kerstin Lane, creator, founder, visionary

Sun-Times obit of last owner of Verdandi Club, in the 5000 block of North Clark!msg/alt.obituaries/tSCeIcubDH8/hB1BhmesT64J

Dead link to -- takes you to the Sun-Times' homepage

Ingrid Bergstrom, 91, brought Chicago Swedes together
Last Modified: Apr 29, 2012 11:00PM

Ingrid E. Bergstrom's Verdandi Club was the epicenter of Swedish-American life in Chicago during the 1960s.

With a huge painting of Stockholm behind the bar and a jukebox that played "Halsa dem da rhemma" and other Swedish songs, the Andersonville restaurant reminded immigrants of their homeland.

Nearly every weekend there was a wedding reception or other event, and once a month there was Scandinavian dancing that packed the house.

"That was the main place where everybody would meet, and those were the days when a lot of Swedes were coming here," said Annette Seaberg, former honorary consul for Sweden.

Along with running the restaurant with her husband, Mrs. Bergstrom, a Swedish immigrant herself, did whatever she could to help newcomers adjust to life in Chicago. She founded Svenska Gillet, the Swedish Friendship Society, and built a strong network of Swedes in the city.

"She'd help everybody," said Nels Nelson, a close friend. "They had people living with them all the time, total strangers that they'd run into. [The guests] would always be so amazed at her kindness and generosity."

Mrs. Bergstrom, a pillar in Chicago's Swedish-American community and also former owner of the Sweden Shop in North Park, died April 10 of natural causes at Swedish Covenant Hospital. She was 91 and a longtime North Side resident.

* * *

Michael Gebert. "Swedish Restaurant Owner, Leader of Vanished Community Dies" Grub Street, 2 May 2012.

Occasionally an obituary seems like a dispatch from a long-lost world. That's how we reacted to the Sun-Times' obituary for Ingrid E. Bergstrom, 91, a prominent leader in Chicago's Swedish-American community in the 1960s and the owner of the Verdandi Club: With a huge painting of Stockholm behind the bar and a jukebox that played “Halsa dem da rhemma” and other Swedish songs, the Andersonville restaurant reminded immigrants of their homeland. Nearly every weekend there was a wedding reception or other event, and once a month there was Scandinavian dancing that packed the house.

[The Sun-Times misspelled the name. I'm going to skip over the Grub Street obit to the end, which has an embedded YouTube video with the correct spelling. Grub Street is the food section of New York magazine's website.]

In any case, at some point in the 1950s or 1960s she opened her restaurant, the Verdandi Club, apparently (there's very little trace of it online) at 5015 N. Clark in Andersonville. She also founded Svenska Gillet, a Swedish friendship society, and seems to have been an important leader in the Scandinavian community. But times were changing in Andersonville; by the early 1970s the Verdandi Club was gone and, in a note of rather too obvious symbolism, the address has been a gay bathhouse since the mid-1970s. Her last business venture was The Sweden Shop at 3304 W. Foster, which she owned from 1971 to 1989 (it's now owned by the owners of the Swedish restaurant Tre Kronor).

Valsigne dig fröken, Mrs. Bergstrom. Let us say goodbye to your world with a chorus of "Halsa dem dar hemma":

Hälsa dem där hemma - played by Walter Eriksson