"Til ungdomen" [to youth] - song at Oslo cathedral memorial service after July 22 terrorist attack

Our image in America is that the state church of Norway is largely irrelevant to a secular, post-Christian society, but in the aftermath of Friday's terrorist attacks it proved quite relevant.

A memorial service at Oslo's Domkirke Sunday ... and the imprompteau shrine outside the cathedral throughout the weekend ... were communal focal points as Norwegians began coming to terms with what has happened. People traveled hundreds of kilometres to attend the service.

Included was the singing of a choral piece, "To Youth," with words by Norwegian poet Nordahl Grieg set to music by Danish composer Otto Mortensen, at the memorial service. Its text was especially appropriate to the occasion, since more than 80 young people had been shot to death. NRK [Norsk rikskringkasting, the Norwegian state broadcasting service] posted the entire song to its website under headline "Kongen og dronningen gråt av sang i domkirken" [king and queen cry during song in cathedral].



NRK's cutline: "Den sterke teksten 'Til ungdommen' av Nordahl Grieg rørte mange under minnegudstjenesten" [the stark text "To youth" by Nordahl Grieg moved many at the memorial service].

According to Wikipedia, the poem was written in 1936; it is often referred to by its first line, "Kringsatt av Fiender' [surrounded by enemies]. Set to music by Otto Mortensen in 1952, it has been included in the Danish folk high school songbook and covered by choirs and metal bands alike. In a recent translation posted to Wikipedia, it begins:

Surrounded by enemies,
go into your time!
Under a bloody storm -
devote yourself to fight!

Maybe you ask in fear,
uncovered, open:
with what shall I fight
what is my weapon?

Here is your defense against violence
here is your sword:
the belief in our life,
the worth of mankind.

For all our future's sake,
seek it and cultivate it,
die if you must - but:
increase it and strengthen it!

And so on for 10 more verses.

ITN News has footage of the service and Eurovision TV has a 60-second report. By far the best coverage overall is on Storyful, a website that "uses the power of social networks to create an innovative, interactive and socially useful journalism." It appears to be an aggragator that collects from personal blogs and social media as well as mass media content posted to the web. It's headed "Norway mourns its dead" ... Brief English-language accounts incorporated into stories on the guardian.co.uk and Irish Times websites. The Irish Times' report, by Derek Scally, led:

NORWEGIAN MASSACRE: A KING’S tears summed up better than any words the confusion and distress gripping an entire country yesterday.

Norway’s King Harald wept openly at a church service to honour the 93 people killed in Friday’s twin tragedy that has left Norwegians reeling.

Outside the cathedral, near the site of Friday’s bomb blast, Oslo came to a standstill. Survivors gripped each other to fight back tears as they studied the sea of flowers and candles.

“Each and every life lost is a tragedy,” said a solemn prime minister, Jens Stoltenberg, addressing the service. “Together the number of people killed amounts to a national tragedy.”

Mark Townsend, reporting Sunday in Oslo:

Thousands of people have gathered outside Oslo cathedral, many travelling hundreds of miles to do so, to insist that Norway's "open" society would not be compromised by Friday's attacks.

As a memorial service dedicated to those killed and injured in the atrocities got underway, a huge crowd assembled on the plaza outside.

Throughout the 90-minute service, most stood in silence, heads bowed, moving only to place flowers on a steadily growing pile of wreaths outside the cathedral. Others wept or held radios, listening intently to the service, which was broadcast live.

Among those present was 15-year-old Sindre Kolberg from Mo i Rana, 700 miles north of Oslo, and home to many of those caught up in the shootings on Utøya island. Kolberg knew 10 children involved in the attacks, but only eight have come home. One is in hospital with gunshot wounds, the other, a girl, is still missing.

"I have talked to two of the survivors and they are shocked. They saw two friends from another city being killed. Norway is such a safe country. You see attacks in the US, London, but never here. I hope it doesn't change," he said.

It was a sentiment replicated throughout the crowd outside the cathedral, a 90-second walk from the police cordons sealing the part of Oslo's government district bombed two days earlier. The cathedral is famous as a place of refuge, often for asylum seekers whose applications have been rejected - the people who Anders Behring Breivik, the 32-year-old who has confessed to the attacks, so despised.

LATER: Posted to the NRK website Tuesday, a story with links about Kjersti Sofie Løvåsdal Halvorsen, 17, who posted a version of "To Youth" to YouTube a couple of years ago (Google translation here). Karina Lystad, arts and entertainment reporter for NRK, has this account:

Nordahl Grieg's poem "To Youth", with music by Otto Mortensen, has been a kind of renaissance after shooting at Utøya .

Sangen ble sunget under minnegudstjenesten i Oslo Domkirke på søndag, og på rosemarkeringen på Rådhusplassen i går kveld, og det siteres hyppig fra teksten på nettsteder som Twitter. The song was sung during the memorial service in Oslo Cathedral on Sunday, and the praise celebration at City Hall last night, and it cited from the text on Web sites like Twitter.

Den økte oppmerksomheten rundt sangen har også fått konsekvenser for 17 år gamle Kjersti Sofie Løvåsdal Halvorsen. The increased attention the song has also had consequences for 17-year-old Kjersti Sofie Løvåsdal Halvorsen. Hun oppdaget plutselig at trafikken på en av YouTube-videoene hennes hadde økt drastisk. She suddenly discovered that the traffic on one of her YouTube videos had increased drastically.

- Tidligere var det rundt ti visninger hver dag, frem til for noen dager siden. - Previously, it was about ten views a day, until a few days ago. I det siste har det vært oppe i 1500, sier hun. In the past there have been up in 1500, she says.

I videoen det er snakk om sitter Kjersti med en kassegitar og synger “Til Ungdommen”. In the video in question is Kjersti an acoustic guitar and sings "The Youth". Og det er ikke bare klikktallene som har gått opp. And it is only then the numbers have gone up.

- Jeg fått veldig mange flere kommentarer. - I received many more comments. Folk sier de liker versjonen min og at de føler diktet er veldig riktig og gir dem mye trøst. People say they like my version and that they feel the poem is very appropriate and gives them much consolation.

Adds Lystad of NRK:

It was more or less a coincidence that Kjersti posted just this video. Hun kom over diktet da hun jobbet med krigslitteratur på ungdomsskolen, og fordypet seg i skriveriene til Nordahl Grieg og Arnulf Øverland. She came across the poem when she was working with war literature in middle school, and immersed herself in the writings of Nordahl Grieg and Arnulf Overland.

- Jeg hørte den først i Herborg Kråkeviks versjon og bestemte meg for at jeg hadde lyst til å lære meg den på gitar, forklarer hun. - I heard it first in [pop singer] Herborg Kråkevik version and decided that I wanted to learn it on guitar, she explains.

- Hva var det for noe med akkurat det diktet? - What was it for something with just the poem?

- Det er et utrolig fint budskap om menneskeverd og solidaritet, som var verdier som Nordahl Grieg var opptatt av. - It is a very good message about human dignity and solidarity, which had values ​​that Nordahl Grieg was concerned. Jeg syns også det er et utrolig godt skrevet dikt med tanke på strofene og rimene. I also think it is an incredibly well-written poems in terms of stanzas and rhymes.

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Songs from Emil i Lönneberga

http://www.pippisworld.com/emil.php Pipi's World fan site

Hujedamej http://www.tsrocks.com/a/astrid_lindgren_texts/hujedamej.html lyrics and

Hör nu på, govänner, så ska jag för er berätta
vad en gosse gjorde, det är nu längesen,
men nog lever minnet kvar i Smålands sköna dalar,
Katthult, Lönneberga, det var den gossens hem.
Hujedamej sånt barn han var,
ej värre tänkas kan,
och Emil var det namn han bar,
ja, Emil hette han.
Sing-dudel-dej sing-dudel-dej
sing-dudel-dudel-dej,
sing-dudel-dej sing-dudel-dej
hu-jeda-jeda-mej

Read

Hujedamej Lyrics

here.

Adas sommarvisa / "Du ska inte tro det blir sommar"
YouTube clip and brief notes at http://www.last.fm/music/Lena+Wisborg/_/Idas+Sommarvisa last.fm

chords and lyrics on http://tabs.ultimate-guitar.com/a/astrid_lindgren/idas_sommarvisa_crd.htm UltimateGuitar.com website. Lyrics in Swedish:

Du ska inte tro det blir sommar
ifall inte nå´n sätter fart
på sommarn och gör lite somrigt,
då kommer blommorna snart.
Jag gör så att blommorna blommar,
Jag gör hela kohagen grön
och nu har sommaren kommit
för jag har just tagit bort snön

http://translate.google.com/translate?hl=en&sl=sv&u=http://sv.wikipedia.org/wiki/Idas_sommarvisa&ei=D0YnTsT7C-j-sQLcuaE7&sa=X&oi=translate&ct=result&resnum=4&sqi=2&ved=0CDkQ7gEwAw&prev=/search%3Fq%3Didas%2Bsommarvisa%26hl%3Den%26rlz%3D1R2GGLL_en%26biw%3D1132%26bih%3D571%26prmd%3Divns Wikipedia (in translation - Swedish at http://sv.wikipedia.org/wiki/Idas_sommarvisa http://sv.wikipedia.org/wiki/Idas_sommarvisa)click )

Ida's summer show, or you will not believe it is summer, is a Swedish children's song with a summer theme . Astrid Lindgren wrote while Georg Riedel composed the melody for the film Emil and griseknoen from 1973 , where it was sung by Lena Wisborg who plays Ida.

"Idas sommarvisa" har tre verser och har blivit vanlig på skolavslutningar , där den blivit omtyckt och betraktas som ett icke-religiöst alternativ till " Den blomstertid nu kommer " och " I denna ljuva sommartid ". "Ida's summer show" has three verses and have become common on school closings , where it has become popular and are considered a non-religious alternative to " The blomstertid now "and" In the sweet summertime . " Andra har dock menat att orden "ifall inte nån sätter fart" kan tolkas så att det är Gud som "sätter fart". [1]

IMDb has a http://www.imdb.com/title/tt0067047/soundtrack soundtrack list from Emil i Lönneberga (1971) ...

Hujedamej http://www.youtube.com/watch?v=HPUXcMpd98c the long version of the opening song from Emil i Lönneberga

Natkirken: 'liturgical laboratory' - 2001 report to diocese of Copenhagen

Excerpts from English-language report on Project Night Church covering its first year as a pilot project at Københavns Domkirke, Vor Frue Kirke

By Signe M. Berg, Inger Ravn and Thomas Söderqvist

PROJECT NIGHT CHURCH -

A liturgical laboratory in the Cathedral of Copenhagen.

* * *

In the late summer of 1999 a new project was launched in the Cathedral of Copenhagen. Originally the idea was to open the church to the public in the late evening hours and to give visitors an opportunity for a personal talk with a minister. In the course of the first year several new practices and ideas were introduced which have turned the project into a liturgical laboratory and a place of dialogue.

The first year of the Night Church project (Danish: "Natkirken") has recently been evaluated on behalf of the twelwe founding downtown churches. This article summarises our evaluation report (available in Danish at www.natkirken.dk).

* * *
The ideas and visions for the Night Church project have developed gradually as a result of our practical experiences. Something unexpected may happen in the course of an evening, new perspectives emerge, new reflections and a new practice is born. When the Night Church project started in 1999 the idea was to provide an open and quiet church punctuated by a short service. Today, however, we envisage the entire evening as an extended service. The long stretches of time when "nothing happens" are part - and a most appreciated part - of the service. The Night Church thus becomes a refuge from everyday life with its career pressures and constant demands for personal achievement. Several visitors have expressed their gratitude to this dimension of the Night Church (see below). The message that many a minister tries to convey to his congregation in elaborate ways, namely, that we do not need to perform or do anything to receive the love of Christ, is here replaced by a personal experience that grows out of the simple practice of "doing nothing", just being - in the calm.

The noise generated by today's information and media society has turned people's attention to the blessing of quietness. Similarly, the common experience of a normative vacuum in today's society has contributed to a revival of ritual. We wish to develop credible rituals. Credibility is bound up with resonance and the content and mode of expression in the rituals and the service must therefore resonate with the individual's perception of holiness and sense of the fundamentals of life. That is, the service must resonate with the visitorís need to find a suitable vocabulary, a direction of mind, and a spiritual context for his or her search. Our task is to find modes of expression that are credible to the individual visitor and which provide a space for dialogue - a dialogue that (post)modern man expects to be a natural part of the state of being together, with other human beings as well as with God.

Many of our visitors can be characterised as "seekers", and we consider it one of our primary aims to establish a dialogue with this group of people. In order to enter into a dialogue with "seekers", however, we must meet them on their own terms. A well-known graffiti says that "Jesus is the answer, but what was the question?" In other words, there is no point trying to preach the gospel if we cannot see our visitorsí distress and if we cannot give them an opportunity to articulate their own questions. To "see" somebody does not necessarily imply accepting everything he or she say - to be "seen" also includes being contradicted and corrected. But whether we agree with our visitor or contradict him, his sense of having been seen is a necessary condition for his being affected.

* * *

Berg, Ravn and Söderqvist's report is also incorporated verbatin in a newsletter of the World Council of Churches Ecumenical Letter on Evangelism - Geneva, 2002. Carlos E. Ham, WCC Programme Executive for Evangelism, has a nice summary in his introduction:

... In a quiet setting, right in the middle of the city’s noise, the project provides an opportunity for “outsiders” and for the “seekers” to meet, to have a cup of tea or coffee together, to write, to walk around, or simply to kneel and pray.

Frequently Cathedrals have been used for performing concerts and this is also the case in Copenhagen, but what makes the experience unique is the way that art is used as an instrument to share the good news. Furthermore the regular church activities such as worship, Holy Communion, reading and interpreting the Bible, prayers, etc., are developed in an innovative way, enabling people to feel welcome and embraced. But perhaps the most meaningful characteristic of the project is sharing in the love of Christ “doing nothing”, just being in calm, in silence.

We are very happy to share with our readers this beautiful and meaningful project, which indeed has been a blessing for the people related to it.

There is also a YouTube clip on a NiteKirk program in Scotland. According to the Mission and Discipleship Council of the Church of Scotland, "Following the success of the night church movement in Denmark, the NiteKirk transformed Greyfriars Kirk in Edinburgh during the Edinburgh Festival of 2008 into a space for reflection, encounter and transformation." Quotes several clergy at length. See the Greyfriars website for ongoing services: "NiteKirk takes place one Friday evening each month and offers a place for stillness, prayer and relection. Come for the evening, or pop in for a quiet moment in our sanctuary of peace and tranquillity. There are occasional services and liturgies, prayer in the style of [Taizé], readings and music. There are volunteers you can chat with over a drink of the famous warm and spicy apple juice, or you can just take time to sit and think. We will publicise NiteKirk here on the site and on the blog, so watch this space."

"The Pride of the Springfield Road"

Learned from Jim Rainey of Craobh Rua in his Irish song class at Common Ground on the Hill on the McDaniel College campus in Westminster, Md.

"The Pride of the Springfield Road"
(I'm learning it in D dorian on the Appalachian dulcimer.)

Lyrics and chords (in B minor) on an Andy Irvine fan page.
The website also has lyrics of "The King of Ballyhooley" - also an Andy Irvine song learned from Jim at Common Ground.

Craobh Rua's website is at http://www.craobhrua.com/ ...

A bagpiper's story

One of those viral emails, courtesy of my cousin on Long Island ...

Very touching story...

As a bagpiper, I play many gigs. Recently I was asked by a funeral director to play at a graveside service for a homeless man. He had no family or friends, so the service was to be at a pauper's cemetery in the Kentucky back country. As I was not familiar with the backwoods, I got lost and, being a typical man, I didn't stop for directions.

I finally arrived an hour late and saw the funeral guy had evidently gone and the hearse was nowhere in sight. There were only the diggers and crew left and they were eating lunch. I felt badly and apologized to the men for being late. I went to the side of the grave and looked down and the vault lid was already in place. didn't know what else to do, so I started to play.

The workers put down their lunches and began to gather around. I played out my heart and soul for this man with no family and friends. I played like I've never played before for this homeless man. And as I played 'Amazing Grace,' the workers began to weep. They wept, I wept, we all wept together. When I finished I packed up my bagpipes and started for my car. Though my head hung low, my heart was full.

As I opened the door to my car, I heard one of the workers say, "I never seen nothin' like that before and I've been putting in septic tanks for twenty years."

Pix - Jenny Lind / Tryggare kan ingen vara

Pix under Creative Commons license ...

http://en.wikipedia.org/wiki/File:Jenny-lind-chapel.jpg - photo of Jenny Lind Chapel in Andover


http://commons.wikimedia.org/wiki/File:Jenny_Lind_-_JLAsher_1845.jpg - JL seated at piano - 1845 - oil by J.A. Asher

Also:

• more thumbnails @ http://commons.wikimedia.org/wiki/Jenny_Lind
  
• Wikipedia page in Google translation on Tryggare kan ingen vara

"Å kjøre vatten, og kjøre ved" - a Norwegian children's song with a Caribbean beat

"Å kjøre vatten, og kjøre ved" by a group from Stavanger called Vindrosa recasts a classic Norwegian children's song with a Caribbean steel band rhythm ... "fra VINDROSA´s album "Østenfor sol" som nå er ute (release 15. februar 2011). Se også www.vindrosa.no.

Vindrosa has its ultimate origins in a 1980s ska-reggae band ... two of its members got together in recent years in Stavanger and cut the record, with singer-songwriter Stina Kjeland fronting the band, which also features Moroccan hand drums, a kletzmer-style clarinet and more traditional stringed instruments like a bouzouki. According to the blurb on their website, they are a sort of Norwegian/world music combo:

The songs they chose are all traditional Norwegian folk songs well known to most of the above-forty generation of Norwegians, but maybe lesser known to younger people. These songs have been dressed up in foreign clothes and scented with exotic fragrances so that they now appear new and fresh, but also familiar. Hopefully this new appearance will cause many people to rediscover these wonderful songs and also give them the new audiences that they very well deserve.

Another version. Andy Irvine, an Irish singer, sings same melody to new lyrics ... "I drove to Oslo on a winter's night ..." osv. @ Dent Folk Festival 2009 ... nice, bright bouzouki backing his voice. Cute lyrics.

Lönneberga - tracing Edmund family roots; kroppkakor with lingonberries; and a popular children's story by Astrid Lindgren

By consulting family records and Google maps, we found Lönneberga, the rural district in Småland where Debi's great great-grandfather was born. Our time was limited, so we chose a couple of places mentioned in the records that we could easily reach, one of which was Lönneberga. (The other was Krisdala.) We had to get back on the E4 motorway to Stockholm's Arlanda Airport, where we needed to drop off our rental car that afternoon, but we were able to spend an hour or two driving around.

Postcards, at right and below, show the Småland terrain. It's beautiful, but it doesn't look exactly like good farmland -- the area is now sort of a woodsy resort destination for weekenders from Stockholm, and we were told nobody tries to farm it anymore.

Rural areas (landsbygd) in Lönneberga
Lönneberga (pronounced luna-BERR-ya) is located on a two-lane blacktop (No. 129) in Hultsfred municipality (kommun) -- a local government unit similar to our townships in Illinois -- in Kalmar county (län) near the Jönköping (yon-SHUPP-ing) county line (if you care about such things, its latitude and longitude are are 57° 33' 0" North, 15° 43' 0" East). A pretty little town, with a housing estate, like an American subdivision, on one side of the road and a nice little restaurant -- Lönneberga Boa -- on the other. Surrounded by evergreen forest set in rolling hills. Some pasture fields, but mostly lakes and woods.

The restaurant was open, and it was around lunchtime. So we went in.

Kroppkakor -- meatballs and dumplings

Lönneberga Boa was a smallish restaurant, across the county road from the housing estate. Reminded me of cafes in our resort areas on the East Coast, with wood paneling on the inside, prints on the walls -- including an old (1920s-ish?) group portrait of the Swedish royal family -- and a modest selection of crafts and tourist kitsch on sale.

Lunch was kroppkakor - pork meatballs surrounded by potato dumplings in a white sauce (cf. German Fleisch Knödel) that tasted like a combination of American-style Swedish meatballs and potato baloney. Served with a lingonberry sauce on the side. It was quite good. Filling, though. Very filling. Debi had a fruktkaka dessert that was nothing at all like an American fruitcake.

Turns out kroppkaka is a traditional dish common throughout Småland and other districts (landskaps) in southern Sweden. In fact, the whole meal was traditional.

---

Picture at right shows Kroppkakor, fruktkaka and knäckebröd (hardtack or crisp bread) with lingonberry sauce and dill pickles.

---

The rural area where the Edmund family lived before coming to America in the 1860s is called Sjoarp (SHOW-arp). Owner of the restaurant said it is no longer occupied year-round, but vacationers from Stockholm have second homes there. The Wikipedia page on Hultsfred kommun indicates the area has been losing population over time: "Much of the geography is taken up with forests, a notability for the entire province of Småland, with some few scattered areas suitable for agriculture."

Local histories, several of which are available on the World Wide Web, also give the picture of an area where people scrabbled for a living on small farms hacked out of the woods.

The Lönneberga Historical Guild (hembygdsgille) hosts a food and craft fair in the fall and maintains a homestead museum (hembygdsgård) near Lönneberga church (for an English translation, Google keywords Lönneberga Mat och Hantverk and click on "Translate this page"). Its website also features a map that shows Sjoarp, which is pretty out-of-the-way. The guild's organizational website has an interesting hodgepodge of information (Google keywords Lönneberga hembygdsgille and click on the link that says "Translate this page") compiled by local historians. Among other things, it mentions historical records going back
to the 1300s, an essay on farming and an account of emigration during the 1800s from another community in Hultsfred commune.

Edmund family records

Lönneberga parish, a district centered on the local parish of the state Church of Sweden, is one of the areas mentioned in family records. The Edmunds farmed land several kilometers northwest (?) of the church building.

Edmund family ancestors from Lönneberga were:

• Petter Admundson, farmer in Sjoarp, Lonneberga Parish, Kalmar County, Sweden. Born Mar. 8, 1805 in Hasselby Parish, Jonkoping County, Sweden. Married Stina Cajsa Jonsdotter, born Mar. 30, 1811, in Lonneberga Parish. Came to America probably in 1870s, after their children came here. (?) Petter died in Woodhull, IL in 1881. Stina died in 1911, in Woodhull, IL.
  

• Anders Johan Admund (Adman), son of Petter and Stina, born Nov. 3, 1833, at Sjoarp farm #2, Lonneberga Parish, Kalmar County, Sweden. Emigrated to America June 26, 1865? 1868? Died 1918 in Orion, IL.

Emil i Lönneberga

Among the touristy items on sale in the restaurant were several black-and-white glossies of a tow-headed little boy. He's Emil of Lönneberga, the title character of several novels by children's author Astrid Lindgren. Better known than Emil in the United States is Pippi Longstocking (Pippi Långstrump in Swedish), another character of Astrid Longren's -- Emil and Pippi are kindred spirits, if not exactly brother and sister.

At any rate, they're proud of their namesake in Lönneberga.

While the Emil books aren't readily available in English, used copies turn up regularly on Amazon.com and other online booksellers. And there's a good synopsis on an Astrid Lindgren fan page called Pippi's World. In 1971 a Swedish-language movie simply titled Emil i Lönneberga came out. It was very popular, and several clips (all in Swedish or Norwegian) have been posted to YouTube from time to time.

---

Emil and friend, as portrayed in the movie.

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Wikipedia has this: "Emil of Lönneberga (from Swedish: Emil i Lönneberga) is a series of children's novels by Astrid Lindgren, covering twelve books written from 1963 to 1997. Emil, the title character, is a prankster who lives on a farm in the district of Lönneberga in Småland, Sweden. The books have been published in 44 languages. In most translations, the original illustrations by the Swedish illustrator Björn Berg are used."

Adds the Wikipedia profile, "[Emil] has fair hair and blue eyes and looks like an angel, but is not, as he also has a prodigious knack for getting into trouble. Contrary to what most people around him think, Emil is not malicious, but does not think about the consequences of his actions. He even states at one point that 'you don't make up pranks, they just happen'."

Pippi's World, the Astrid Lindgren fan website, has some perceptive comments:

The fact that Emil of Lönneberga lives in a farmhouse is of great significance! This is where he has unfettered freedom to do his pranks. Most of his pranks are targeted at saving people he love from some problem that he perceives. They are endearing also, like the time when he gives food meant for guests to some poor people because he feels their need is greater. This is labeled a 'prank' in his own home, but the intentions are definitely noble and give him good brownie points for character.

Speaking of character, Emil is really quite good at heart. He also knows to reciprocate goodness, which is seen in his behavior with Alfred, the farmhand, who is one of Emil's best friends. For all Alfred's trust and good faith in him, Emil reciprocates by even saving his life at one point of time.

There's a copy of the 1971 movie version available on YouTube. It's in Swedish, and I didn't watch it all, but a trailer gives a feel for the characters ... and an idyllic -- idealized? -- impression of what a youngster from Småland might remember from the early 20th century when Astrid Lindgren was growing up. There are more YouTube clips, all in Swedish. Details on the 1971 release available on the Swedish Film Database website.

St Basil's Hymn - Greek Christmas/New Year's song for hammered dulcimer

A nice Christmas piece in E minor for hammered dulcimer ... adapted by Malcolm Dalglish from a Greek children's song sung on New Year's Day ... part of the Orthodox Christmas and New Year's celebration (St. Basil's Day is Jan. 1), very similar to the "starring" carol-singing during Russian Orthodox Christmas in Alaska.

A couple of versions follow, one for HD and two of the original song from Greece:

• Ann Robinson: St. Basil's Hymn, Hammered Duclimer - hrpplayer - on a very interesting YouTube channel at http://www.youtube.com/user/hrpplayer - by a harp and hammered dulcimer player who also has several clips of Ken Bloom playing bowed dulcimer ... and a nice harpish sound to her HD pieces, including "Jesu Thou Joy of Man's Desiring."
  
• Κλασικά Πρωτοχρονιάς - kalanta - Audio of a recording of an up-tempo children's choir singing in Greek. Uploaded by kalanta2008 on Dec 30, 2008a. No other information available in English.
  
• St. Basil carols (kalanta) in Upatras 1-1-2007 stylianosm - Children singing the carols (in greek: kalanta) of St. Basil the Great in the entrance of the Church of the University of Patras dedicated to the Holy Three Hierarchs after the holy liturgy on 1-1-2007. Amateur footage and very nice. Tempo is as lively as you can get when very young children are singing.

Best source of information on the music, as always is the Mudcat Cafe thread: http://mudcat.org/thread.cfm?threadid=20736 - "Lyr Req: St. Basils Hymn" - which includes this post by Mudcat contributor Joe Offer:

I went under my bed and dug out the Christmas CD's and found Winston's wonderful December album- Winston says his tune "Minstrels" was inspired by St. Basil's Hymn, a traditional Greek children's New Year's carol based upon a rendition by Malcolm Dalglish, from his Flying Fish album, Thunderhead.

For background the Greek children's carol, see the Byzantine Texas website (Josephus Flavius, Fort Worth), which has several good links -

One of them is the Greek Songs - Greek Music website ... which explains:

The most common version of Greek carols for the New year are the one called "Arhminia kai arhihronia" which translates to It’s the beginning of the month, beginning of the year.

The Greek carol songs are a particular type of songs in Greek music, belonging to the folk tradition. We are not certain about their origins and their lyric writer - as with all folk songs, the creators are actually unknown.

New Year's Day is St. Basil's Day in the Orthodox calendar. Lyrics, in translation:

It’s the beginning of the month, beginning of the year
High incense tree
Beginning of my good year
Church with the Holy Seat

It’s the beginning of our Christ
Saint and spiritual
He got out to walk on earth
And to welcome us

St. Basil is coming
From Caesaria
And doesn't want to deal with us
May you long live, my lady
He holds (St. Basil) an icon and a piece of paper
With the picture of Christ our Savior
A piece of paper and a quill
Please look at me, the young man.

If some of the lines sound a little odd in a Christmas carol, that's because there's another song embedded in the carol. Explains the Greek Songs-Greek Music website:

... the folk tradition reveals us that this Greek carol song has actually disguised 2 songs in one. Of course there are all about greetings and wishes, but almost every second lyric there is a reference to a love story.

The story takes place in the 17th century - more or less: A young man who is in love with a noble woman has the idea to express his love in the only way he can: creating a song that communicates his message disguised within love lyrics: Please look at me, the young man, he sings to his noble woman, calling her tall and beautiful like a high incense tree, a noble woman that doesn't deal with him because he is of a different social status.

It's actually quite interesting how the lyrics reveal the truth if you pay close attention, but still they are considered part of the Orthodox tradition - as if the love story of the lyrics in these Greek carols doesn't exist!

More background: The Christmas and New Year's Celebrations website has this: "old New Year’s Eve tradition encourages children and adults to go from house to house, singing carols called kalanda," cf. starring in Alaska ... a good summary on the St. Herman Theological Seminary website (scroll down to Following the Star - 01/08/11):

Throughout Alaska Orthodox Christians "follow the star," a brightly decorated Star of Bethlehem with an icon of Nativity as its center, proclaiming that "Christ is born" to the homes of communities with traditional hymns and carols. Although caroling--and starring--originated in the Ukraine and is done in central Europe as well, it spread to Alaska a century ago and now is identified as a tradition of Native Orthodox Christians in Alaska. As we go from house to house in the days following the liturgical celebration of the birth of Christ--"God with us"--we remember the ancient prophecy that "a star will come forth from Jacob" (Numbers 24:17) to shine the light of God upon the nations of the world for our salvation. "Thy Nativity, O Christ our God, has shone to the world the Light of Wisdom. For by it those who worshipped the stars were taught by a star to adore Thee, the Sun of Righteousness and to adore Thee, the Orient from on high. O Lord, glory to Thee" (troparion of Nativity). Christ is born! Glorify Him!

To hear a a public radio program on Russian Orthodox Christmas in Anchorage with a group of singing a Slavonic carol in the background, go to my Hogfiddle post of Sept. 22, 2006 and follow the link.

"Shepherd's Hey"

A morris dance tune ... collected by Cecil J. Sharp from the playing of the fiddler of the Bidford Morris dancers (1906) and arranged in various settings Percy Aldridge Grainger.

• Shepherds Hey Ravensthorpe
  FiddlerNick - Moulton Morris Men dancing Shepherds Hey from Ravensthorpe (Northants). The dance and its tune were collected by Revd Watkins-Pitchford from an old dancer from the Ravensthorpe side in the early 1900's and the details lay in Percy Grainger's papers in Melbourne until they were unearthed by Barry Care in 2004. Recorded Adderbury Club Day, Sep 09 2007 [stick dance w/ fiddle and box].
  
• Shepherd's Hey Morris Dance at Kintbury May Day
  juliacrobinson - Kintbury villagers join in to celebrate May Day! Kintbury Morris and the Garston Gallopers lead the way with Derek Shaw on melodeon: www.also-known-as.org.uk
  
• Cumberland Morris Men perform Shepherd's Hey
  allybeag - A somewhat slow version of this famous dance! Cockermouth Christmas Lights switch-on 2007 [with vocal chorus].

Grainger's versions include a tour de force band piece and an impossible-to-dance-to piano arrangement:

• Shepherds Hey, English Morris Dance, Percy Grainger, SWO Symphonic Wind Orchestra, SYO A1okEZ - "Shepherds Hey" English Morris Dance by Percy Grainger. Performed by the Symphonic Wind Orchestra, conducted by Russell Hammond. The SWO is for wind, brass and percussion musicians aged 14 - 22 years. ... Recorded live on 20 March 2010 at the Sydney Youth Orchestras SYO Autumn Concert at Sydney Conservatorium of Music, Australia.
  
• Percy Aldridge Grainger (1882-1961): Shepherd's Hey
  d60944 - Percy Grainger is a fairly well-known composer, and his interest in collecting and arranging folksongs is also well known. As well as his compositional activities, he was a very fine pianist. No lesser a figure than Grieg transferred his endorsement as the finest interpretater of his own music to Grainger after they met a few years before Grieg's death ... / This recording is of a folksong arrangement by Grainger, and it was recorded by him in 1908. / I particularly like - and am fascinated by - the large degree of "swing" injected into the playing. Stride jazz piano was developing at this time too, and the sort of swing is approaching that (later jazz sort of merged the swung rhythm into a more strict 4/4=12/8, whereas the earlier swung rhythms from the 1910s through 20s were only around halfway toward this outright tripletting effect).

Excerpts from an article by Jonathan Brown in The Independent [London] that gives a good history of morris dancing along with a first-person beginner's account. "Hell's bells! The joy of Morris Dancing" Sept. 21, 2009:

I am standing in a Scout hut on a rainy Wednesday night in a leafy suburb of York, preparing to be initiated in to the ways of morris. Few would imagine that danger is at hand. Morris dancing – with its tinkling bells, clink of pewter tankards and brightly-clad participants – evokes the timeless, gentle charm of an English village. ...

* * *

The good ladies of the Acorn Morris, York's first all-female team (who have been strutting their stuff since 1977), have already nurse-maided me through a gentle Shepherd's Hey – really a dance for children but deemed suitable for a beginner such as myself – before progressing to the slightly more vigorous Brighton Camp, which involves some enjoyable knee-slapping and culminates in a satisfying gurn. I am also allowed to backswagger and caper (these are technical terms) along to a (for me) rather demanding Jenny Lind Polka, named in honour of the celebrated Victorian opera singer known as the Swedish Nightingale and still widely venerated in morris circles.

* * *

To see the Acorn team dance the Skirmish [a lively stick dance] is to forget the tedious old instruction of Sir Thomas Beecham about morris dancing and incest being two of life's more optional leisure interests and instead seek out the stirring description of Philip Stubbs, the 16th-century pamphleteer. Writing in his The Anatomie of Abuses (1583), a sort of Elizabethan version of the Daily Mail which excoriated the declining state of England and the degenerate behaviour of its people, Stubbs turns the full force of his censorious quill on the morris men: "They strike up the Devil's Dance withall: then march this heathen company towards the church and churchyards, their pypers pyping, the drummers thundering, their stumpes dancing, their belles jyngling, their hankercheefes fluttering about their heads like madde men." More than four centuries later, they are still doing so; in fact, the pastime appears to gaining popularity.

portal to old faculty page message board

http://www.sci.edu/faculty/ellertsen/boardgate.html

Also

http://disc.yourwebapps.com/Indices/139587.html

"Carolan's Draught"

Three versions from YouTube:

Carolan's Draught
kenhardtofind - in Japan - playing hammered dulcimer at slow tempo -

Carolan's Draught - Finger Picking
jeanbanwarth - "Recueil de tablatures (+ partions) disponible à partir de la boutique en ligne de MusTraDem.
Tabs book (+ scores) avalaible on line from MusTraDem website.
Turlough O'Carolan / Arr. Jean Banwarth. Tablature Trad Magazine n° 120. Accordage : EADGBE"

The Irish Group - O'Carolan's Draught
celteast - Gitar Cafe Concert in Istanbul - mandolin, guitar (and bodhran on 2nd number in set)
Personnel, per YouTube channel:

Nilufer Ketenci-Fiddle
Feride Sofugil-Tin Whistle, Low Whistle, Mandolin
Ayhan Unal-Acoustic Guitar

Later: Fiachra plays 'O Carolan's Draught' on the Irish harp. Arrangement by Fiachra Ó Corragáin.

"John Stenson's No. 2" (in D-for-dulcimer and in the original key of A)

Two threads in The Session ... in the first at http://www.thesession.org/tunes/display/1817, user murfbox writes, "The Stensons are relatives of Kevin Burke and live in Co. Sligo. John Stenson was a box player and Kevin learned the tune from him." In the second at http://www.thesession.org/tunes/display.php/1163, CeadurMawnOrganig writes, "This is the second John Stenson's reels played by Kevin Burke on 'If The Cap Fits'. He includes the two reels in a 3-tune set starting with a G-dorian setting of The Star of Munster."

A couple of versions on YouTube featuring mountain dulcimer:

• John Stinson's #2
  FlatMountainDulcimer "... mountain dulcimer performing group out of eastern North Carolina, playing mountain music in the flatlands of the southeast" [description from their YouTube channel].
  
• Bing Futch & Jt Taylor - John Stinson's #2 (Part 2)
  reddhawk1964 - Portage Dulcimer Day Concert 2010, Portage Pa, 7/3/2010

And three for hammered dulcimer:

• Evart2010 John Stinson's #2
  GingerJaneM - A late-night jam at the hammered dulcimer festival in Evart, Mich.
  
• rickthum John Stenson's #2 and Hangman's Reel - Rockford, MI Concert Rick Thum does a couple of his favorite tunes at the concert in Rockford, MI, November 2009. Ken Kaiser backed him up on guitar.
  
• John Stenson's #2 - Midland 2010 - Kaiser Family Band
  KenKaiser "The Kaiser Family Band performs at the Saturday night stage show at the Midland Folk Music Festival in Midland, Michigan on August 27, 2010. Be sure to check them out at www.kaiserfamilyband.com!"

John Stinson #2
http://www.youtube.com/watch?v=sCwtZSvlFqg banjojudy Mary Z. and Bob Cox play John Stinson #2 at the Albuquerque Folk Festival, June 21, 2008.

Kevin Burke - If The Cap Fits - 5 -The Star of Munster, John Stenson's no. 1, John Stenson's no. 2 [starts at 2:00]
http://www.youtube.com/watch?v=i8K6YlDSTsU fujenti
Kevin Burke - If the Caps Fits (1978)
Recorded in Ireland in the late 70's, and still seen by many as one of the most innovative, refreshing and influential fiddle recordings ever made.

Kevin Burke: fiddle
Peter Browne: flute, uilleann pipes
Jackie Daly: accordion
Paul Brady: mandolin, piano
Donal Lunny: bouzouki
Gerry O'Beirne: slide guitar
Micheal O'Domhnaill: guitar

FolkWorld - Home of European Music – Folk, World & Roots Music Webzine

http://www.folkworld.eu/

Imprint | Impressum
Editors, Publishers, Webmasters, Layout, Idea, ©opyright:
Michael & Christian Moll

FolkWorld is a web magazine and internet portal, being online since 1997. At the time being, we publish three issues every year that appear in spring (1st March), summer (1st July) and autumn (1st November), respectively.

FolkWorld is an independent and non-profit making web magazine. All material published in FolkWorld is © The Author via FolkWorld. Storage for private use is allowed and welcome. Reviews and extracts of up to 200 words may be freely quoted and reproduced, if source and author are acknowledged. For any other reproduction please ask the editors for permission. ...

* * *

"A Decade of Folk: Editorial" by Michael and Christian Moll, FolkWorld Issue 34 Nov. 2007 http://www.folkworld.de/34/3/ed.html - has kind of a prospectus ...

FolkWorld, the European online folk, world and roots music magazine celebrates its 10th anniversary in the world wide web on 1st November 2007. This issue is being published to coincide with the anniversary. Also with this issue, FolkWorld is re-launched at a new .EU domain: www.folkworld.eu, to fully reflect the European dimension of the publication.

Over its 10 years, FolkWorld has developed into the biggest and ultimate resource for European folk, world and roots music on the internet. The "Home of European Music" has accumulated on its website more than 5,000 CD reviews and over 500 articles, live reviews and interviews, plus regular news updates, from European and international artists. Every day 10,000 worldwide visitors are looking for information about European folk music on the FolkWorld website.

Back in 1997, the trigger for developing FolkWorld was the discontinuation of the German print magazine Folksblatt, to which we had been main contributors over the previous few years. Folksblatt was merged with the other German magazine, Folk Michel, to form the new magazine Folker. Thus Folker has also reached its 10th anniversary this year, and FolkWorld would like to take this opportunity to congratulate our colleagues. ...

usw.

Article about FolkWorld: Reprinted from Folker! ... "Folkworld.eu – Home of European Music: Internetmagazin feierte Zehnjähriges - Ultimative Adresse im Netz" - FolkWorld Ausgabe 37 11/2008; Folker!-Artikel von Dirk T. Fellinghauer. http://www.folkworld.eu/37/d/folker.html

Creole = diversität ... globale Musik aus Deutschland

File under creolization ... a German world music website ... homepage at creole – globale Musik aus Deutschland 2011

Who they are and what they do:

creole = diversität
creole steht für die unverwechselbare Kulturdiversität Deutschlands. Nur hier kann entstehen, was wir bei den alle zwei Jahre stattfindenden Bundeswettbewerben musikalisch erleben dürfen: Die KünstlerInnen, die alle in Deutschland leben und arbeiten, experimentieren mit dem, was hierzulande – teilweise seit Jahrhunderten, teilweise seit gestern – an transkulturellem Reichtum vorhanden ist.

Identität, Tradition, Regionalität, Grenzen und deren Wegfall dienen den MusikerInnen als Inspiration; gesellschaftlich relevante Themen werden so mittels Musik be- und verarbeitet. Die aus Migration und Kulturkontakt resultierenden musikalischen Neuentwicklungen werden damit zu einem Spiegelbild Deutschlands im 21. Jahrhundert. ...

At http://www.creole-weltmusik.de/index.php5?lang=1&lm=CREOLE&lc=aktuell

"There Once Was an Owl"

I learned it from Betty Smith ... words by the poet John Ciardi, music by Bob Beers, who played psaltry and was active on the New England festival scene in the 1950s or 60s ...

InspiredPreK on YouTube
There Once Was an Owl Song Sung for class by Carolyn
I learned this song from wonderful folk musician, Betty Smith, in her 1977 June Appal recording of For My Friends of Song. I saw her performing in Baltimore in 1980 and am so glad I bought that album.

http://www.youtube.com/watch?v=m166cbg6qUA

Wilfried Ulrich, "Story of the Hummel"

Copy of a blast email I sent out today promoting Wilfried Ulrich's new book The Story of the Hummel (German Scheitholt). 181 pages. Published by the author. A translation of Die Hummel: Geschichte eines Volksmusik-Instruments. Volume 42 of Materials Pertaining to the Everyday History and Folk Culture of Lower Saxony. Clopppenburg: Museumsdorf Cloppenburg, 2011. Price: 22 euros, plus 7 euros shipping (approximately $45 total at current exchange rates).

Hi everybody -

A couple of months ago Wilfried Ulrich, a German luthier whom I met when he taught in Mountain Dulcimer Week at Western Carolina, came out with a book called "The Story of the Hummel." He asked me if I could help with publicity for the book, and I'm happy to do what I can. It's a fascinating book, and it's changed the way I think about the origins of the mountain dulcimer. In a word, I really liked it and I highly recommend it.

"The Story of the Hummel" is a translation of the catalog for an exhibition of hummels and other European folk zithers at Museumsdorf Cloppenburg, an open-air museum in North Germany. I'm attaching a synopsis and a PDF file of a flyer for the exhibit; the flyer is in German, but the pictures are thumbnails of visuals in the book. The blue instrument on the flyer is a North German hummel that is also pictured on the book's cover. It was apparently a wedding present, and you can see the bride's and groom's initials intertwined with a bridal crown in the soundhole. Like so many exhibit catalogs, it's a hardback coffee table book with very nice photography.

The synopsis I've attached elaborates on Wilfried's history of the hummel. In addition to pictures and history, dulcimer players will find a chapter on how to tune a hummel in Ionian, Aeolian, Dorian and Mixolydian modes, along with tablature; it would work on most American dulcimers. Full measurements of the instruments in the exhibit, including vibrating string length and fret placement, are also given.

"The Story of the Hummel" costs 29 euros with shipping from Germany included (a little less than $45 at today's exchange rates), which isn't bad for a hardback coffee table book. For more information, or to order a copy, contact Wilfried Ulrich, Am Diekschloot 40, D-26506 Norden, East Frisia, Germany. Email: ulricus.norden@t-online.de Web site: www.ulrich-instrumente.de ...

- Pete

"De Boatman Dance" - sheet music, pix, etc.

De Boatman Dance: An Ethiopian Ballad Arranged for the Spanish Guitar by Philip Ernst. New York: C. G. Christman, 1844.


Available on line in several versions:

• Library of Congress, Music for the Nation: American Sheet Music ...
  
• Arr. for piano, "De Boatmen's Dance: An Original Banjo Melody by Old Dan D. Emmit, in collection of Dan Emmit's songs Levy Collection, Johns Hopkins

Like other early minstrel tunes, it was in the oral tradition before Dan Emmit adapted it for the stage ... Andrew Kuntz in Fiddler's Companion has this:

BOAT(S)MAN [2]. AKA and see "Sailing Down the River on the O‑hi‑o," "Ohio River," "Boatman Dance." Old‑Time, Breakdown. USA; W.Va., Pa. A Major (Krassen, Phillips): D Major (Johnson): G Major (Spandaro). Standard tuning. AABBC: ABCC (Johnson): AABBCC (Phillips). The fiddle tune is derived from the minstrel piece credited to Dan Emmett called "De Boatmen Dance" or "Dance, Boatman, Dance;" the tune (words below), according to some accounts, was first heard in performance in Boston in 1843. Emmett published it in that year, advertising it as "An Original Banjo Melody." The tune appears in many American and even English songsters of the 19th and early 20th centuries; Scott (1926) prints it as "Sung by the Ethiopian Serenaders." Both Nathan and Cauthen (1990) assert the melody was in folk currency before the minstrel era, and that it made its way back to folk currency in the fiddle tradition after popularization by minstrels; this is probably true, for it was in print (as "Ohio River") in George P. Knauff's Virginia Reels, volume IV (Baltimore, 1839) -- associated with Ohio River boatmen -- before it was played on the minstrel stage. See also "Boatman's Dance" for version of the tune in the morris dance tradition and "Little Rabbit" for a related old-time version.

... with reference to two pictures ... George Caleb Bingham (1811-1879). Raftsmen Playing Cards and Flatboat Fiddler. From Frank Leslie’s Illustrated Newspapter, v. 50, April, 1880.

http://www.csufresno.edu/folklore/ballads/BMRF566.html
The Ballad Index Copyright $TrueYear by Robert B. Waltz and David G. Engle.

Wikipedia article on http://en.wikipedia.org/wiki/Minstrel_show#cite_note-124 Minsterel Show notes that "... when the sound era of cartoons began in the late 1920s, early animators such as Walt Disney gave characters like Mickey Mouse (who already resembled blackface performers) a minstrel-show personality; the early Mickey is constantly singing and dancing and smiling" - cited to Sacks, Howard L.; Sacks, Judith (1993), Way up North in Dixie: A Black Family's Claim to the Confederate Anthem, Washington: Smithsonian Institution Press, p. 158.

Thomas Kingo: Hører til, I høje himle (melody Freu dich sehr) w/ English translation of Hymns on the Passion, bio of Kingo

Promotional video on YouTube for public singing of Kingos passionssalmer at Helligaandskirken [Church of the Holy Spirit], Copenhagen, Friday April 8, 2011.

From YouTube blurb: "Barokkens største danske litterære perle! Kingos passionssalmer fra 1689. Enevældens største salmist."

De 17 salmer:
1) Hører til, I høje himle (Om Jesu lovsang)
2) Over Kedron Jesus træder (Om Jesu sved i urtegården)
3) Sover I? hvor kan I sove ( Om de sovende disciple)
4) Mørket skjuler jorderige (Om den forrådte Jesus)
5) Længe haver Satan spundet (Jesus føres bunden)
6) Ingen højhed, ingen ære (Om St. Peders fald)
7) Vælder ud, i øjne-strømme! (St. Peders tårer og omvendelse)
8) Søde synd, du vellyst-engel (Om Judas, som fortvivler)
9) pengene som Judas slængte (Om pottemagerens ager)
10) Jesus, som skal verden dømme ( Om Jesus i Pilati domhus)
11) Til Herodes Jesus føres (Jesus sendes til Herodes)
12) Se, nu er Pilatus gangen (Barrabas løsgives, Kristus begæres korsfæstet)
13) Vil dog himlen intet tale (Jesus hudstryges, bespottes og tornekrones)
14) Hvordan end Pilatus hinked (Se hvilket menneske)
15) Rettens spir det alt er brækket (Jesus dømmes til at korsfæstes)
16) Kommer I, som vil ledsage (Jesus bær sit kors til Golgatha)
17) Bryder frem, I hule sukke (Om Kristi korsfæstelse, pine og død)
I Den Danske Salmebog findes ca. 50-60 vers ud af originalens 209.

No. 80 in Den Danske Salmebog Online:

Hører til, I høje Himle
Mel.: Jesus, dine dybe vunder
1
Hører til, I høje Himle,
hører til, I englekor!
Hører, o I folk, som vrimle,
som på jordens klode bor!
Høre, hver, som høre kan,
hver, som sans har og forstand!
Alt det, som har ånd og øre,
lave sig nu til at høre!

osv.

English transaltion of the text at http://www.blc.edu/comm/gargy/gargy1/KingosPassionHymns.html [Translation © Mark DeGarmeaux unless noted]

HYMNS ON THE PASSION
which can be used in the congregations during Lent
at the weekly service and on Days of Prayer
according to the custom of each place
Gradual of 1699

THE FIRST WEEK IN LENT
Jesus' Hymn of Praise
HØRER TIL I HØYE HIMLE [8]
tune: Freu dich sehr

1 O ye highest heavens, listen,
Hear the angels' anthem swell!
People without number, listen,
All who on the earth do dwell!
Listen, all who now can hear;
Every heart and mind, draw near;
All with breath and life, draw near Him,
Now prepare yourselves to hear Him.

etc.

Fairly detailed bios of Kingo, including from Dahle, Library of Christian Hymns, on the Wittenberg Trail "an online community for people exploring and confessing the Lutheran faith" ... mention of Kingo in a sermon at Mindekirken in Minneapolis Pastor Jens Arne Dale on Oct. 3, 2004:

We celebrate today’s worship service with a Danish flavor. That’s nothing new to Norwegians. For 400 years Norway was under the rule of Denmark. Sermons were delivered in the Danish language in Norwegian churches. Until 1814 pastors and other officials were sent to Norway from Copenhagen.

Many have judged the Danish time negatively, but the picture is not unambiguous. We received a rich spiritual and cultural heritage from our brother people in the south. For instance, it’s hard to imagine Norwegian church- and Christian life without the hymns of Kingo, Brorson and Grundtvig, just to mention a few. They are all represented on today’s hymn list.

Let’s stop for a moment by Thomas Kingo whose hymn we just sang. How really was this giant writer of hymns who made such an impact also in Norway? Ask one of his enemies, of whom there are not few, and you’ll get to hear that he was a calculating flatterer of the king, an unpredictable hothead, and a skinflint. His friends, however, portrayed him as a humble Christian, a powerful preacher, and a brilliant hymn writer. The words on Alexander Kielland’s grave stone fit for Kingo: Those who knew him, loved him. Those who didn’t love him, didn’t know him.

Kingo himself was painfully aware of his shortcoming. It’s clearly expressed in the hymn we just sang: I’m never free from failure, never though, without God’s grace, I have always sigh and woe, God me always Jesus show. Kingo admits his own failures and sins, but at the same time he experiences himself enveloped by God’s incomprehensible grace. ...

A history is available on line of Kingo Lutheran Church founded by Danish immigrants in the Milwaukee area ... there is also a Kingo Lutheran Church in Fosston, Minn., a town founded by Norwegian immigrants. "The incorporation papers of Fosston were recorded June 8, 1889, by the Register of Deeds in Crookston, the County Seat of Polk County, Minnesota. Fosston was named for Louis Foss (1849–1920), who was an immigrant from the village Nyttingnes in Sogn og Fjordane county, Norway. Mr. Foss was the founder and owner of Louis Foss & Company, one of the first business to be established in the community. The city of Fosston is reputed to be the adopted hometown of Cordwood Pete, younger brother of famed lumberjack Paul Bunyan." http://en.wikipedia.org/wiki/Fosston,_Minnesota

cWikimedia Commons photo of Thomas Kingo (1634-1703) from: J. P. Trap, Berømte Danske Mænd og Kvinder [Famous Danish Men and Women], 1868. http://en.wikipedia.org/wiki/File:Thomas_kingo.jpg

Swedish radio show signs off in Rockford

http://www.rrstar.com/carousel/x401387193/Swedish-radio-show-Temple-Toner-to-sign-off-next-month Rockford Register Star

Swedish radio show 'Temple Toner' to sign off next month
By Corina Curry
RRSTAR.COM
Posted May 14, 2011 @ 11:25 PM
Last update May 14, 2011 @ 11:46 PM

ROCKFORD — Seventy-five years of broadcasting a half-hour of worship and music in Swedish on Sunday mornings is ending.

The Salvation Army Rockford Temple Corps is pulling the plug on “Temple Toner,” a radio program that has long served as a lifeline and a comforting reminder of home to scores of the city’s Swedish immigrants.

“It’s run its course,” said Salvation Army Maj. Randy Hellstrom. “In some ways it’s sad. But in some ways, it’s time. The show served its purpose. It had a really good 75 years. There are just fewer and fewer people out there who speak the language.”

“Temple Toner” airs at 8 a.m. Sundays on WNTA (1330 AM). The last show will be June 26.

Hellstrom said there’s no way to know just how many people are listening, but he’s sure the number has dropped dramatically in recent years as the older, Swedish-speaking population of the city shrinks.

According to the U.S. Census Bureau’s American Community Survey 2005-09 estimates, there are 295,803 people living in Winnebago County, 27,536, or 9.3 percent, of whom claim Swedish ancestry.

“So many of our listeners are no longer with us,” said Marita Sjogren, the show’s host for the past 15 years. “We used to get a lot of feedback but not any more. ... Every now and then, we’ll hear from someone. But it’s a lot of work for such a small number of people.”

Connecting old and newSjogren, 66, was born in Sweden. She’s one of few people, she believes, from her generation who came to Rockford as a child and still speaks fluent Swedish. For 13 years before her, her mother hosted the weekly radio broadcast. Sjogren took the reins when her mother died. Back then, plenty of people tuned in on Sunday mornings, she said, to hear sounds from the old country.

For more than seven decades, dozens of voices and technicians have helped produce the show. Salvation Army Brigadier Gunnar Erickson, who died last fall at 101, gave the show’s devotional reading every week for almost 40 years. Dale Runberg, a radio equipment operator, helped record the show for more than 30 years.

Sjogren said she knew the end had come when Erickson died, and there was no one to take his place. For the past six months, the show has been about 95 percent Swedish. Hellstrom gives the devotional in English.

The idea for the radio show sprang from Rockford’s deep and much-celebrated Scandinavian roots. Thousands immigrated here to work in the city’s booming manufacturing industry starting in 1852.

“It started as a way to connect to the Swedish immigrants,” Hellstrom said. “It was a way to help them mesh their new lives with their old lives.”

‘No longer the case’The broadcast started in the basement of the Salvation Army Temple Corps Church on Rockford Avenue. Back in the day, the church had a Swedish-language service that provided much of the show’s audio, but that ended in the 1970s.

Today, Sjogren records the show in front of a computer at the home of her good friend Bob Slack. With his skills, dozens of CDs featuring Swedish language music and an archive of recordings — some going back 40 years — Slack and Sjogren can crank out about a dozen shows in a couple of hours.

Sjogren greets the listeners, makes a series of announcements and reads from the Bible. Slack then takes those recordings and combines them with songs and the devotional message.

The duo recorded the broadcast’s final four shows a couple of weeks ago. They put the recordings on a disc and high-fived, Sjogren said.

“It’s time,” she said. “It’s a passing. There’s always a sadness when things end.”

Hellstrom said the church may look into a different kind of radio ministry. “Perhaps there’s an audience out there for a Spanish broadcast. We did the show in Swedish because it was the most common second language of people in Rockford back in the days. That’s no longer the case.”

Want to play dulcimer at New Salem?

Sent the afternoon of May 11 to people on the Prairieland Dulcimer Strings email list, soliciting volunteers to take the one-day historical interpreters' training at Lincoln's New Salem State Historic Site and play acoustic instruments in the historic village. If anyone sees it here and wants more information, I can be reached by email at peterellertsen [at] yahoo.com ...

An important disclaimer: My thoughts on how and why I play music appropriate to the 1830s in a living history environment reflect my personal opinions and should not be interpreted as a statement of official policies and procedures of Lincoln's New Salem State Historic Site, the Illinois Historic Preservation Agency or any other agency.

* * *

They need people who play in the historic village to have the volunteer training, other than during festival weekends like the Traditional Music Festival in September, but [they have] boiled it down to one morning of orientation, from 9 a.m. till about 1 p.m. (it used to be three days)! The training gives an overview of the historical themes, frequently asked questions and things like emergency procedures, logging in (volunteer hours count as in-kind donations for grant applications), keys to the buildings, handling artifacts and reproductions, etc. I've taken the training, and it's really interesting. New Salem is kind of a magical place, and the magic gets stronger the longer I volunteer there and the more I know about it, so I think this is a real opportunity.

Several of us attended my off-season workshops this year in playing music of the 1830s in modal dulcimer tunings (mostly DAA and DAG), and we discussed this idea of jamming in the historic village in period dress. I think these trainings that Glen is willing to do for us will be a big step toward making that happen. While most of us in the workshops play mountain dulcimer, we had fiddle, banjo, autoharp and tin whistle represented, too, and I think just about any kind of acoustic instrument is appropriate in the historic village. (I've been looking for documentation of early Fender Stratocaster electric guitars on the Illinois frontier, but so far I haven't found any!) So I don't want to limit it to Appalachian dulcimers or to people who play with the Prairieland Dulcimer Strings. Any and all who are interested in playing at New Salem are welcome.

Also: We have the Summer Festival coming up the weekend of Saturday, June 11, and I'm recruiting musicians.

Here's what the New Salem website says about Summer Festival: "Come join New Salem interpreters as they will be demonstrating various crafts and trades throughout the village. Children will be able to participate in early 19th century activities such as butter churning, basket weaving, making corn husk dolls, quilting, broom tying, playing games and attending the 'blab' school. Musicians will be performing throughout the village to entertain visitors." It's a busy weekend, with the Dulcimerville workshops in North Carolina the week before and the Gebhard Woods Festival that weekend. But if you're going to be in the area Saturday, June 11, please let me know. We need musicians!

If you have questions, comments, suggestions or want to volunteer, please don't hesitate to get back to me. You can reach me any time at this address. I look forward to hearing from you.

And the following excerpt, from a later message, further explains why I think it's important for musicians to have some training as interpreters ...

Overall, I think it's important for all of us who play music in the historic village to have at least a minimal amount of historical background as well as a knowledge of emergency procedures, etc. ... a lot of visitors say they appreciate talking with trained interpreters in period dress, that it makes the history come alive for them. ... So when we play music in New Salem village, we're entertaining the visitors, but in a way we're also demonstrating historical arts and crafts on the same basis as the weavers, the blacksmiths or the ladies who demonstrate cooking in a dutch oven in the Rutledge Tavern. And very often we're talking about history with the visitors as well.

I hope this isn't getting too long-winded, but the reasons for wanting some level of training for people in the historic village are kind of hard to explain. Anyway, I really do believe New Salem is a magical place and the training is a big part of what helps us create the magic. ...

"Five Pounds of Possum (in my Headlights Tonight)"

Five Pound Possum- by New Highway
Uploaded by newhighwaybluegrass on Jan 24, 2010
Here's a fun song entitled "Five Pound Possum" that NH has a lot of fun with! It was a great tune found on youtube but Tim (lead singer) decided to write another (third) verse to the song- so ENJOY! Come visit our website at www.newhighway.net and become a member and sign our guestbook! New Highway is a bluegrass band in N.W. Arkansas.



Appalachian dulcimer tab (DAD) by Dogwood http://www.gulfweb.net/rlwalker/dogwood/alltunes/Five%20Pounds%20Of%20Possum%20(D).pdf

http://mudcat.org/thread.cfm?threadid=10228 Mudcat Cafe threads

Lyrics at http://mudcat.org/thread.CFM?threadID=2605#10962 Lyr Req: Five Pounds of Possum http://mudcat.org/thread.CFM?threadID=2605#10962

Sweeney Clan Web Site - Notable Sweeneys

Sweeney Clan Web Site - Notable Sweeneys

"Jenny's Gone to Ohio" ** UPDATED 03-12 **

A.k.a. "Jenny's Gone Away." Dulcimer tab in DAD by Doofus ... Don Pedi has lyrics w/ fret numbers above the words for Ionian tunings on his website

Peggy Seeger sings it on her album Heading for Home (click here for an audio clipA). Joe Hickerson, in the liner notes, says the song is traditional. He adds:

In June 1959 folksong collector Philip Kennedy attended a Tart family reunion in Benson, North Carolina, where he heard Carlie Tart and his sister leading a 3-verse song about Ginnie. He described the incident in his article "An Unusual Work-Song Found in North Carolina: "Ginnie's Gone to Ohio'," in North Carolina Folklore, volume 15, number 1, May 1967, pp. 30-34. The song was part of a family "group-singing" tradition going back at least a century and had originally been learned from black singers. The three verses began with "Ginnie's gone to Ohio, Ginnie's gone away," "Ginnie's a pretty girl, don't you know," and "Ginnie's dressed in her strings and rags." The chorus was "(Oh) Ginnie's gone away, Ginnie's gone to Ohio, Ginnie's gone away." In the article, Phil mentions two parallels to the song: "Jenny shake her toe at me, Jenny gone away," which was reported as early as 1839 from black singers on St. Simon's Island, Georgia; and the sea chantey, "Tom's Gone to Hilo."

I learned the song from Phil Kennedy in 1960. I soon added three verses and have performed it many times since, occasionally as "Jenny's Gone To Ohio." My melody with Kennedy's words and notes appeared in Sing Out!, vol. 17, no. 2, April-May 1967, pp. 16-17. ...

Peggy recalls learning the song in England from an American singer. So, from wherever Ginnie or Ginny or Jenny started her journey to Ohio, her peregrinations (with added details from myself and others) eventually took her from the USA to England and back to the USA and, of course, to all those places good songs go.

Two articles available through JSTOR on "Jenny Shake Her Toe at Me" - African American slave song ... one quotes Fanny Kemble who heard it in 1830s, called it "a very distinct descendant of "Coming Through the Rye" ...

Jenny's Toe: Negro Shaking Dances in America
Chadwick Hansen
American Quarterly
Vol. 19, No. 3 (Autumn, 1967), pp. 554-563

The other uotes William Cullen Bryant in 1843 [but T'm not sure what he says about it, except he heard it at a corn shucking in S.C.

Jenny's Toe Revisited: White Responses to Afro-American Shaking Dances
Chadwick Hansen
American Music
Vol. 5, No. 1 (Spring, 1987), pp. 1-19

103rd Illinois - marching out of Memphis to strains of "Girl I Left Behind Me"; playing a fiddle on warm day in winter quarters in North Alabama

Charles W. Wills. Army Life of an Illinois Soldier: Including a Day-by-Day Record of Sherman's March to the Sea. 1906. Carbondale: Southern Illinois University Press, 1996.

Feb. 7, 1864, in winter quarters at Scottsboro, Ala. 213-14 -

This has indeed been a day of rest. More like a home Sabbath, than the Lord's day often seems, here in the "show business." None of my company have been on duty, and as the day has been bright and warm, the men have been all out in front of the quarters; all looking natty and clean and healthy, sunning themselves real country-Sunday fashion. ... The boys brought a fiddle in with them yesterday from our Lebanon march, and as nearly all of them play, "more or less," it has seen but little rest today.

Adjutant General's Report, 103rd Illinois Volunteer Infantry http://civilwar.ilgenweb.net/history/103.html

September 28th we received marching orders, and the next day the Fifteenth Corps was on the road and arrived at Vicksburg, taking transports for the North as fast as they could be furnished.

The One Hundred and Third arrived at Memphis on the 11th, at 9 A.M., drew new arms (we had heretofore been armed with old fashioned "69" Harper’s Ferry muskets), and at 11:20 were marched out of Memphis to the tune of "The Girl I Left Behind Me".

We arrived at Iuka about the 20th, having made two considerable detours from the direct line of march from Memphis. Here we received pay, transferred some men to the Invalid Corps, refitted the command, and on the 27th crossed the Tennessee River at Eastport, arriving at Florence the 29th, and began fortifying the place.

The 3d of November we again moved out, striking the N. & C. R.R. at Cowan about the 12th following the railroad to Stevenson and Bridgeport, where we arrived about the 18th.

An attempt had been made by General Corse, commanding, to mount the Brigade, and enough horses were picked up to mount the Fifteenth Michigan, and two companies - C and G - of the One Hundred and Third, who were then detached from, and did not rejoin the Regiment until the last of December, at Scottsboro, Ala.

On the 20th we left Bridgeport, and crossing Sand Ridge moved southeast so as to strike Trenton, near which we camped the night of the 21st. After building numerous and extensive fires to mislead the enemy, about midnight we quietly withdrew, marching towards Chattanooga, arrived at Wauhatchie the afternoon of the 22d, crossed the Tennessee at Brown’s Ferry, and moved up back of the hills near to the place where Sherman’s army subsequently crossed.

The morning of the 24th, with our Division, we crossed the river on the pontoon bridge and began the attack on the north end of Missionary Ridge. By 3 P.M. we had assisted to take the first of the hills, which we securely fortified, and at night drew up by hand the guns of Richardson’s First Missouri Battery and placed them in position.

The next hill, the one through which the tunnel passes, was the strong point of the Confederate right, and was accordingly strongly fortified. On the 25th our Brigade charged these works, and had it been possible, would have taken the point. Captain Walsh, of Company B, was killed within fifty feet of the rebel works, as were a number of men. After doing all that could be done General Corse ordered us to retire, which we did (part way down the hill) and fortified, expecting to try it again soon. In the meantime the rebel left and center had been crushed, which relieved us of further serious fighting. The eight companies at the beginning of the engagement mustered 237 men, of this number, one commissioned officer, Captain Walsh, and 19 enlisted men were killed on the field, and 68 wounded, 5 or 6 of whom died of their wounds.

After the engagement we followed Bragg for nearly two days and then went to the relief of Burnside at Knoxville. Arriving within 20 miles of Knoxville, we learned that General Longstreet had raised the siege and "fled to the mountains".

‘Having rested, we set out on our return to Chattanooga, which place we passed through about the 16th of December, arriving at Bridgeport the 19th, many of the men being literally barefooted.

Being newly clothed and paid the 24th, we marched to Stevenson, Ala., where we remained over Christmas. The next day we started for Scottsboro, Ala., but a heavy rain setting in we did not reach that place until the 28th.

In 91 days since we had left Vicksburg we had been transported 500 miles, marched over 1100 and participated in one of the most glorious victories of the war.

While in Scottsboro, nominally winter quarters, few days passed on which we were not called out for forage or scout.

Companies C and G returned to the Regiment, and Company F was again detailed to the commissary department.

About the 8th of February 1864, we were ordered to report at Cleveland, Tenn., which we did on the 14th. Here we were attached to a Provisional Brigade composed of nine regiments drawn like ourselves from the Fifteenth Corps, Colonel Dickerman, of the One Hundred and Third, being in command.

On the 23d we left Cleveland, Division commanded by General Chas. Cruft, and marched to Catoosa Springs that night. Here we joined General Palmer, commanding this detachment of the army.

The 24th we occupied the valley west of Tunnel Hill. During the night of the 24th moved to within three miles of Buzzard Roost Gap. The next morning formed the advance line and moved forward to wake up the enemy, which being accomplished, we were placed in reserve.

This was the beginning of the Atlanta campaign.


US Gazetteer > Alabama Gazetteer > Alabama Cities > Lebanon, AL (DeKalb County)

Lebanon is a community or populated place (Class Code U6) located in DeKalb County at latitude 34.366 and longitude -85.816 (Lebanon Panoramio Photos). The elevation is 735 feet.