Monday, September 30, 2013

Lars Esbjorn's psalmodikon at Jenny Lind Chapel

John E. Norton. “Ecclesia Plantanda”: Emigrant Preacher Lars-Paul Esbjörn and The Beginnings of the Augustana Synod. Paper presented to the Augustana Heritage Association, Bethany College, Lindsborg, Kansas, June 19-22, 2008. http://www.augustanaheritage.org/AHA_Ecclesia_Plantanda_2008.pdf ... has a good summary of Lars Esbjorn's early life and musical training:
...He was born at Delsbo in Hälsingland, Sweden on 16 October 1808, and was orphaned at the age of seven. He was taken in by a 59-year-old domestic, Christina Enman, who had been a neighbor of his parents in Ede. She saw to his education, first in Hudiksvall, then at the liberal Gävle Gymnasium, and finally in Uppsala, where he was ordained in 1832. While still an Uppsala student, he became a teacher at Oslättfors, then accepted a call in 1832 to Östervåla in nearby Uppland. He soon returned to Oslättfors Mill in 1835 as chaplain and teacher at the new Hille elementary school.

During his time in Hille, he was also the school’s and congregation’s music teacher, and became deeply interested in four part music. In 1843 he was working with dean Johan Dillner at Östervåla on a new edition of Syréen”s ”Christeliga sångbok,” for the single-stringed psalmodikon. It was published in 1849, as Esbjörn and his party of 140 others left Gävle for America. His musical experience was the beginning of a rich musical tradition within the Augustana Synod and its schools.

Also some extended quotations in the footnotes from ms. sources ...

The psalmodikon on display at Jenny Lind looks like it was strung with one melody string and eight drones. Cf. instrument at Bishop Hill. Appears to be more or less the standard size, altho' I didn't measure it.

Directory of AHA essays at http://augustanaheritage.org/essays.php

Also: Miscellaneous links I've posted to Hogfiddle ...

Norton. “Ecclesia Plantanda” p. 5, n. 2

Rev. C.O. Hultgren, a seminary student at the time, delivered a delightful description of Esbjörn ́s early years in Andover, Robert Lincoln ́s mean-spirited pranks, and faculty tensions at Springfield, in notes to C.M. Esbjörn around 1907, now filed in the Augustana College Special Collections. He writes: “...In June 1854 Esbjörn and I went to Moline. My father had a pair of good horses, and I drove them. Esbjörn was happy, and in good humor. We soon came to a deep slough. The bridge was down, and the horses had to go on the side in soft mud. They came frightened and started to jump. Esbjörn was afraid, and jumped in(to) the slough, and sank up to his knees. We arrived safely on the other side. Esbjörn did not lose his patience. He said “we must thank God that no limbs were broken. The mire on my clothes will soon dry.” The heavens became cloudy and there was a heavy mist. I had never been in Moline, so Esbjörn had to show me the road...just the prairie. Three o ́clock and no Rock River. Esbjörn said “we are din God ́s hands. Halt and let the horses graze for a while.” We sat on the grass. He started to sing Psalm 33. I sang too. He said I had a better voice than he. He said mine was natural. He said he could not sing until (after) he became a minister. In Norrland, the students went from estate to estate and sang for money, etc. “I hired a student and went with him. He sang many songs. He sang one over and over a good many times in those eight years, but I could not learn it. After my first sermon, my hostess asked me why I didnt sing the Mass. I said to her “I cannot sing.” She said I should buy me a “mellodium” (psalmodikon?). I got a few pieces of wood and made one. I learned to sing and play. I also taught music. Now, in God ́s Name, we shall continue our journey.” The fog was very thick, could not see two rods in front of you. Thee was not the sign of a house. I asked him where to go. He pointed that way, and said “the Lord, as in Israel ́s time, will show us the way.” As it was getting dark, we saw the Rock River. The long grass waived over the horse ́s head. Ten o ́clock that evening, (we) crossed the Rock River into Moline. Mr. Peterson, the ferryman, asked us to stay that night, whch we did. No services that night as was announced in Moline. We came to Moline on Saturday. ... [Parentheses in the original.]

The note goes on with recollections of the Lutheran college in Springfield, where Hultgren was a student in 1859 and 1860, including a description of Robert Lincoln, the president's son, as a troublemaker.

Psalm 33 (Wallin?) -- Jag lyfter mina händer -- http://sv.wikipedia.org/wiki/Jag_lyfter_mina_händer This almost has to be Wallin's Psalm 33 (a paraphrase of Ps. 121 by by Jacob Arrhenius in 1694) because it fits the context so well:

I lift my hands Up to the mountain of God and the house, From them he sends aid And send out their light. I the Lord always leads, As earth and sky done; He hears me when I pray, And protects me everything fast. (Trans. Google)
Wikisource http://sv.wikisource.org/wiki/Jag_lyfter_mina_händer

Melodium an alternate spelling of melodeon. ... The Exhibitions and Fairs of Massachusetts Charitable Mechanic Association, Volumes 1-5. Massachusetts Charitable Mechanic Association (Google eBook> describes "melodium" along with Seraphine as "imperfect, and must be greatly improved, bdefore they can take high rank among Musical Instruments." -- a reed organ operated by bellows -- "The low price, however, at which they are sold, and their applicability to the purposes of simple and Sacred Music, in the parlor or the vestry-meeting, will secure them a very considerable sale." keywords melodium = instrument

Saturday, September 14, 2013

Clayville Fall Festival / upcoming events / John Stinson's No. 2 in DAD-for-dulcimer / some thoughts on community

Hi everybody --

One of the best things we do in the dulcimer community in this part of Illinois is coming up next weekend. It's the Clayville Fall Festival, from 9 a.m. to 4 p.m. Saturday, Sept. 21, and 10 a.m. to 4 p.m. Sunday, Sept. 22, at Clayville Historic Site on Ill. 125 at Pleasant Plains. We hope to have people there both days playing and spreading the word about the Prairieland Strings and the Clayville Pioneer Academy of Music jam sessions. If you can come, please let me know, and I'll try to coordinate a rough schedule. Or just come on out and plop down under a tree whenever you find us!

In addition to music, the festival will feature artisans, craftspeople and artists, re-enactors, kids' activities, and brats, burgers and sodas sold by civic groups in Pleasant Plains. It's a nice village festival, and it's getting more and more like the old festivals at Clayville during Sandman State University days. More details at ...

http://clayville.org/clayville_fall_festival_2013

A couple of other things coming up:

-- Our "third Thursday" session of the Prairieland Strings is from 7 to 9 p.m. this coming Thursday, Sept. 19, at Atonement Lutheran Church, 2800 West Jefferson in Springfield. I'll send out more details directly.

-- Deanna and Pete Langheim will play for the mature mob show called "Road Show USA" Sept. 20, at 6 p.m., Sept. 21, at 1 p.m., and Sept. 22 at 1:00 p.m. At the Sacred Heart Griffin Theater, 1200 W. Washington St., Springfield. Admission is $15, and proceeds go to the Senior Center of Illinois.

-- No firm dates yet, but my presentation "Swing Low: Dwight Moody, an Original Crossover Music Artist" has been accepted for the 2013-2014 roster of the Illinois Humanities Council's Road Scholars speakers bureau. It's about spirituals, folk hymns and the beginnings of gospel music. Details at ...

http://www.prairie.org/bios/road-scholars/pete-ellertsen

JAM TUNES FOR CLAYVILLE

With an eye to the autumn fair and festival season now upon us, we've made an effort to get more fun, lively tunes that are easy to pick up at jam sessions into our repertory (or nudge them back into it if we haven't been playing them much lately). Here's a couple you can find sheet music for on line at ...

-- "Walking in the Parlor". -- trad. Appalachian -- http://www.terrylewisdulcimer.com/walking%20in%20the%20parlor.pdf

-- "Nutfactory Shuffle". -- by Gil Anderson -- http://www.suecarpenter.net/free-tab/nutfactory/nutfactory-shuffle.pdf

-- "John Stinson's No. 2". -- trad. Irish, reinvented as a mountain dulcimer jam tune in DAD! -- http://www.hsvmda.com/sites/default/files/tabs/JohnStinson2.pdf

I'll copy this email message to my blog Hogfiddle at http://hogfiddle.blogspot.com and put in hypertext links to background.

DULCIMER 'COMMUNITY'

Like other people who write and do public relations for a living, I've been known to throw around words like "community" without giving it much thought. But now and then comes a reminder there *is* a community of people who choose to make their own music on folk instruments hardly anybody else has ever heard of, and it's a nationwide community, no less.

The other day I got an email message from Nancy G. of Flat Mountain Dulcimers in eastern North Carolina, who said she was "shocked and honored" I had linked their version of "John Stinson's No. 2" to Hogfiddle a couple of years ago. Then she added, "I scrolled to the bottom of the blog to see who had written it. When I saw [the byline] 'Pete', I realized that I know who you are from attending workshops at WCU [Wesstern Carolina University]."

Which got me to thinking ...

I first heard "John Stinson's" in a jam session at Western Carolina, where I learned it from members of a dulcimer club out of Georgia -- either Macon or the North Georgia foothills, I forget which -- and some of my very best moments playing the dulcimer have been in jam sessions at Western, the annual "Dulcimerville" workshops in Black Mountain, the Indiana Dulcimer Festival, Gateway and Mike Anderson's winter weekend in Chillicothe, Ill. I even sat in once with a dulcimer club from Crossville, Tenn., when I pulled off at a rest area on Interstate 40 between Knoxville and Nashville on the Fourth of July weekend.

If that's not being part of a far-flung community, I don't know what it is!

So here's a link to the the Flat Mountain Dulcimers of Kinston, N.C., playing "John Stinson's No. 2" ...

Wednesday, September 11, 2013

"Gubben Noak" at Augie, 1870s / ** UPDATED x2 ** w/ link to sheet music in Wikimedia Common and Fredmans Sång N:o 35 / and lyrics to "Björnen sover" / guitar tab in Norwegian -- in D! and SAB in F

Oscar Fritiof Ander. T.N. Hasselquist: The Career and Influence of a Swedish-American Clergyman, Journalist and Educator. Augustana Library Publications No. 14. Rock Island: Augustana Library Publications, 1931.
The larger percentage of the Swedish population in the United States was agricultural, and it was not easy to convince farmers of the necessity of educating their children beyond the reading and writing stage. Many argued that education was detrimental, and that their children would become lazy and consider themselves too good for farm work. The Swedish=American youth did not always desire an education, declaring that they did not need to go to college to learn to plow. As for the girls, if they could cook, sew, sing in a choir, and play "Gubben Noak" (a simple piece played with one finger), they were considered accomplished by their neighbors. (70) [Parentheses in original.]
"Gubben Noak" [old man Noah] -- Fredmans Sång 35 -- by Carl Michael Bellmann is biblical parody that has become a favorite Swedish folk song and has been covered by generations of musicians from heavy metal bands to folk music troupes, performers of classical art song and student choirs. It is well known throughout Scandinavia, and I remember my Norwegian-American father whistling it after I came home from summer school in Oslo. Music at http://www.bellman.net/texter/sang.php?nr=35 on the Carl Michael Bellman Hemsida (homepage) website. It dates from the 1700s, and Noah's name is spelled variously. First verse below.

Fred Åkerström Gubben Noack.

Wikipedia at http://sv.wikipedia.org/wiki/Gubben_Noak -- first verse, as translated by Google, from

Old man Noach, Noach old man
Be a gentleman,: | |:
When he went out of the ark
Plant him on the ground
Great wine, great wine yes, yes
This he did.

Old Man Noah, baby Noah
was a gentleman
When he would eat
drop he potäta.
Old Man Noah, baby Noah
was a man of honor.

Bellman, an 18th-century poet of Stockholm who later wrote two cycles of drinking songs and whose work was well received in the court of King Gustav III at century's end, began in the 1760s by writing biblical parodies, including "Gubben Noak." The gist of the song is that Noah planted vinyards and got drunk when the biblical flood receded and the ark landed. The state church of Sweden was not amused. Says Wikipedia (again in Google's translation), "In 1768, the reactions were severe in the cathedral chapter in Lund and in a letter to diocesan priests tried to collect all copies of the old man Noach and similar biblical parodies of Bellman to have them destroyed." In spite of those efforts, and perhaps partly because of them, the song immediately soared to popularity and has remained popular ever since.

Music (in F) …

Björnen sover

Björnen sover, björnen sover
i sitt lugna bo. Han är inte farlig,
bara man är varlig, men man kan dock,
men man kan dock honom aldrig tro.

The bear is sleeping, the bear sleeping
in its tranquil stay. He is not dangerous,
only one is serious, but the fact is,
but the fact is he never believe.

Translation (such as it is) by Google

A couple of other versions:

"Life of Bellman" in Ulriksdals slottspark. A snippet from a play based on the life of Bellman, dramatizing -- and parodying -- the reaction of the state church of Sweden to Bellman and his poetry, Albin Flinkas, Janne Åström, Andreas Andersson, Johanna Cervin.

Gubben Noak med flickkören clavinova. Girls' choir in Betlehemskyrkan in Karlstad, 22 maj 2013.


http://nortabs.net/tab/3652/ -- guitar tab in D

http://vårakoret.no/download/Sanger/$Noter/Gubben%20Noah.pdf SAB (på norsk) in F

Saturday, September 07, 2013

Pioneer Swedish-American reminiscences / Käre Jesus, vi är här / Hit, o Jesu, samloms vi

When I first posted this in September I didn't make the distinction between two similar chorales, and wasn't able to get them straightened out in my mind till May 2014. See my post May 30, 2014, at:

http://hogfiddle.blogspot.com/2014/05/add-liebster-jesu-swedish-psalmbook.html

The two chorales are:

Both hymns, the first words of which are practically identical, most commonly use Ahle's tune LIEBSTER JESU. But Clausnitzer's gathering hymn was also set to a minor-key variant by Carl Wolfgang Briegel (1687) and got into the 1819 psalmbook with that tune.

I am not going to try to rewrite this post -- the information I got from the sources I consulted at the time was correct as far as it went, and the post stands as written -- but it is not the complete story. I am repeating this disclaimer here in order to (hopefully) minimize confusion.

,p.

C.J. Snodgren, "A Brief History of the Augustana Synod." The Augustana Synod : a brief review of its history, 1860-1910 (Rock Island: Augustana Book Concern, 1910). 25-27. Internet Archive. 2007.

http://archive.org/details/augustanasynodbr00augu.

... Of another congregation its minister wrote : "After a few months they began to pay attention to the sermon." Of another it is related : "The people were beside themselves with joy (i. e. over the visit of a minister). Services were announced for the following day (a Saturday) in the school-house, and all who could crawl or walk assembled. Many of them had lived there five and six years and during all that time had never heard a sermon. When they began the service by singing psalm 328 : 'Blessed Jesus, at Thy Word we are gathered all to hear Thee' (Hit, o Jcsu, samloms vi att ditt helga ord fa bora) [26] the singing was smothered by sobs and only after some minutes were they able to continue. -- -- ... [27] We have room for only two more samples : In a certain other congregation the service was carried out by one of the members. When they were through and on the way home, he called out: "Hold on, boys; I forgot to read the benedic- tion," to which they shouted back : "Save it till next time !" But in yet another a few settlers gathered in a private house to celebrate Christmas. They had procured a tree, and candles were placed in the windows. No minister was present, but a leader read the Christ- mas story in Luke 2, spoke a few heartfelt words and led in earnest prayer; and the simple service made such a profound impression on those present that all embraced each other and wept like little children. the memories and emotions that must have swept over that little gathering of pilgrims in a strange land! [Parentheses in the original.]


The melody is apparently a variant of the LIEBSTER JESU, WER SIND HIER by Johann Rudolf Ahle that's in LBW (No. 248) and other contemporary Lutheran hymnals [although, as so often happens, I can't quite hear the resemblance and don't want to push it too far]. The Augustana hymnal (1925) has Tobias Clausnitzer's words with a melody LIEBSTER JESU (No. 302) in D minor it attributes to Carl Wolfgang Briegel (1687). Same melody, in Em, in my copy of Johan Henrik Thomander Svenska Psalm-Boken Af År 1819 (No. 328).

Andreas Holmberg's blog Nätkoralboken at http://koralboken.blogspot.com/2012/10/kare-jesus-vi-ar-har-alt-koral.html has Psalm 328 in C minor and MIDI file under the heading Käre Jesus, vi är här (alt. koral) [dear Jesus, we are here (alt. chorale)] in a new translation that seems closer to the German:

Text: Tobias Clausnitzer 1663 (45 år) "Liebster Jesu, wir sind hier", övers. Petrus Lagerlöf 1694 (46 år) "Hit, o Jesu, samloms vi", bearb./nyövers. Olle Nivenius 1984
Musik: Johann Rudolph Ahle 1664 (39 år)
Lyssna till J. S. Bachs version av koralen (BWV 633)
alt. koral Johann Crüger 1653 enligt 1939 års koralbok (i bearb. av J C F Haeffner)


Hymnary.org has this on the text:

Essentially a prayer asking for illumination by the Holy Spirit as the Christian community gathers around the Lord's Word, "Blessed Jesus" is a pre-sermon hymn by Tobias Clausnitzer (b. Thum, Saxony, Germany, 1619; d. Weiden, Upper Palatine, Germany, 1684). It was first published in the Altdorffisches Gesang-Buchlein (1663) and first attributed to Clausnitzer in the Nüremberg, Germany, Gesangbuch (1676). Catherine Winkworth (PHH 194) translated the text and published it in English in her Lyra Germanica (2nd series, 1858).

Clausnitzer graduated from the University of Leipzig and became a chaplain in the Swedish army. He preached two sermons at memorable occasions: when Queen Christina ascended the Swedish throne in 1645 and when the Peace of Westphalia, which ended the Thirty Years War, was celebrated in 1648. Clausnitzer became a pastor in Weiden in 1648, where he remained until his death. In addition to "Blessed Jesus, at Your Word," his creedal hymn, “We Believe in One True God,” is found in many modern hymnals.

And this on the tune ...
LlEBSTER JESU is a rather serene German chorale that is ideally sung in three long lines and in parts with light organ accompaniment. In rounded bar form (AABA') LIEBSTER JESU (also called DESSAU and NURENBERG) was originally one of Johann R. Able's “sacred arias,” first published with Franz J. Burmeister's Advent hymn text “Ja, er ist's, das Heil der Welt" in the Mühlhausen, Germany, Neue geistliche auf die Sonntage . . . Andachten (1664). The tune was later modified and published in the Darmstadt, Germany, Das grosse Cantional (1687) as a setting for a baptism hymn by Benjamin Schmolck that had the same first line as Clausnitzer's text: "Liebster Jesu, wir sind hier." Because several sources say that LIEBSTER JESU was first associated with Clausnitzer's hymn in the 1671 Altdoifer Gesangbuch, it seems probable that the tune name derives from that hymn text.
http://www.hymnary.org/hymn/PsH/280

Notes by Jeffrey Sly on Bach prelude Leibster Jesu, 9th Sunday after Pentecost, 21 July 2013, Music @ St. Mary's Episcopal, Phoenix. http://stmarysphoenixmusic.wordpress.com/tag/liebster-jesu/:

Opening Voluntary: Chorale Prelude on Liebster Jesu, wir sind hier (BWV 731) – J. S. Bach (1685-1750)

Today’s opening voluntary is a chorale prelude on the hymn tune, Liebster Jesu, sung today as our offertory hymn, “Blessed Jesus, at thy word” (#440, Hymnal 1982). The original version of the tune was a composition of Johann Rudolph Ahle (1625-1673) and first appeared in 1664 paired with the text of an advent hymn. Ahle was born in Mülhausen, Thuringia and studied theology at the University of Erfurt from 1645-1649. He became the cantor of The Church of St. Andrew in Erfurt in 1646 and was later appointed organist of the Church of St. Blasius in Mülhausen in 1654. Ahle’s original tune, a somewhat florid and soloistic work, was later altered to a form more appropriate for congregational singing and was paired with the present text of Tobias Clausnitzer (1619-1684), Liebster Jesu, wir sind hier. It was republished in that revised form in 1687 with Clausnitzer’s previously-published text of 1663. It entered into English hymnody in the 19th century through the translations of Catherine Winkworth (1827-1878) and was first published in her work, Lyra Germanica of 1861. It was later included in The Chorale Book for England in 1863 along with its associated melody.


Wikipedia in Germany http://de.wikipedia.org/wiki/Tobias_Clausnitzerhas: "Liebster Jesu, wir sind hier, dich und dein Wort anzuhören im Evangelischen Gesangbuch (EG) Nr. 161 (Melodie: Johann Rudolph Ahle, 1664, erschienen bei Wolfgang Carl Briegel, 1687)."

Swedish Wikipedia http://sv.wikipedia.org/wiki/K%C3%A4re_Jesus,_vi_%C3%A4r_h%C3%A4r says: "Enligt 1697 års koralbok användes inte den dåvarande melodin till någon annan psalm, men borde vara Ahles tonsättning med tanke på årtalet för kompositionen." [Babylon: According to 1697 year koralbok was not the former melody to any other psalm, but should be Ahles music' with a view to the year for the composition.]

Google translation of http://sv.wikipedia.org/wiki/Käre_Jesus,_vi_är_här : "Dear Jesus, we are here is a hymn in three verses, with lyrics by Tobias Claus Nitzer from 1663 (Liebster Jesu, wir sind hier). In the year 1695 hymnal of Peter Lagerlof 1694 under the title "Hit, O Jesus, samloms we", a title which was unchanged in both the 1819 Act and the 1937 hymnals. For the 1986 hymnal was processed and partially nyöversattes hymn by Olle Nivenius 1984."


A Dictionary of Music and Musicians (1900) edited by George Grove. http://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Briegel,_Wolfgang

Briegel, Wolfgang by Carl Ferdinand Pohl

BRIEGEL, Wolfgang Karl, church composer, born 1626, originally organist at Stettin, and afterwards (see the title-page of his then published works) Music-Director to Prince Friedenstein in Gotha, and in 1660 Kapellmeister to the Duke of Saxe Gotha. In 1670 he was called to Darmstadt as Kapellmeister to the Landgrave of Darmstadt, where he remained till his death in 1710. Among the remains of Emanuel Bach was a portrait of Briegel, engraved by Nessenthaler; it represents a man of about sixty-five, of healthy and jovial aspect, and with no trace of the labour involved in so many serious compositions. Schneider (das Musik. Lied, iii. 155) says, that 'perceiving the fashion of solo songs like those of Ad. Krieger and the two Ahles to be on the wane, he returned to the composition of songs for several voices; he wrote, in fact, incessantly in all sorts of styles with much fluency but no originality, and with no adequate return for his labours.' His principal compositions consisted of sacred songs for several voices, mostly to his own words. One of his works alone, for 3 and 4 instruments (Erfurt, 1652), contains 10 Paduaner, 10 Gagliarden, 10 Ballette, and 10 Couranten. His one secular work, 'Musikalisches Tafel-Confect' (Frankfort, 1672), consists, according to its quaint title, of 'pleasant Conversations and Concertos.' His Hymn-book for Darmstadt appeared in 1687. His published works, twenty-five in number, begin with 'Geistliche Arien und Concerte' (Erfurt, 1672), and end with 'Letzter Schwanen-Gesang,' consisting of twenty Trauergesänge for four or five voices (Giessen, 1709).


Bach Cantatas website, in entry "Chorale Melodies used in Bach's Vocal Works Es ist genung, so nimm, Herr, meinen Geist," [http://www.bach-cantatas.com/CM/Es-ist-genug.htm] ment. "Liebster Jesu, wir sind hier (1664) (EGK 127, 151) with slight modifications by Wolfgang Karl Briegel (1687) and texts either by Tobias Clausnizer (1618-1684) or Benjamin Schmolck (1672-1737). Settings by Bach: BWV 373, BWV 633, BWV 634, BWV 706, BWV 730 and BWV 731."

The Organ Music of J.S. Bach: Works based on chorales (BWV 599-771 etc.) By Peter F. Williams Google eBooks

Amazon.com lists: Blessed Jesus, at Thy Word. Chorale motet for full chorus of mixed voices a cappella. [Words by] Tobias Clausnitzer, English version by Catherine Winkworth. ... [or rather, Wolfgang Carl] Briegel, 1687 Unknown Binding – Import, January 1, 1938 by Wolfgang Carl Briegel (Author) Be the first to review this item


Bach’s Chorals. Part III: The Hymns and Hymn Melodies of the Organ Works, by Charles Sanford Terry (Cambridge University Press, 1915-1921). 3 vols. Vol. 3. http://oll.libertyfund.org/?option=com_staticxt&staticfile=show.php%3Ftitle=2057&chapter=197674&layout=html&Itemid=27.

Thursday, September 05, 2013

Songs of Sweden ed. Gustaf Hägg (1909) -- audio and PDF files of sheet music

UR Research > Eastman School of Music - Sibley Music Library > Musical Scores >

https://urresearch.rochester.edu/institutionalPublicationPublicView.action;jsessionid=1742903573A0D3B19A5929A3022A1418?institutionalItemVersionId=24179

Songs of Sweden : eighty-seven Swedish folk- and popular songs / collected and edited by Gustaf Hägg ; the English translations by Henry Grafton Chapman. New York: G. Schirmer, 1909.

links to PDF file I downloaded tonight


Audio Archive > Community Audio > Swedish songbook

http://archive.org/details/SwedishSongbook

SONGS OF SWEDEN
87 folk and popular songs
English translations by Henry Grafton Chapman

Tracks 01-29 various artists
Tracks 01-25 Swedish
Tracks 26-28 English
Tracks 29-29 instrumental

TITLES
Fågelns visa (The bird's song)
När jag blef sjutton år (When I was seventeen)

NOTES
All but one of the songs are from the 1909 book "Songs of Sweden".

The "Swedish Nightingale" Jenny Lind (1820-1887) toured the United States from 1850 through 1852. "Songs of Sweden" has a number of songs from her repertoire. "Jenny Lind mania" — from another source — is a music hall number from 1850 that makes light of her emergence as the world's first modern celebrity.

The recordings of “The bird's song” and “When I was seventeen” feature the lyrics of Henry Grafton Chapman. An article in the January 26, 1913 edition of the New York Times noted his death while praising the quality of his translations.

"Ack Värmeland du sköna" (O Vermeland thou lovely) is a Swedish folk song, best known in the English-speaking world as the instrumental jazz standard "Dear old Stockholm". The song, first published in 1822, was given additional lyrics by F. A. Dahlgren and included in his 1846 play "Värmlänningarna".

VÄRMLÄNNINGARNA

Swedish-American audiences were mainly interested in theatrical productions dealing with Swedish country life such as the popular musical "Värmlänningarna" (The People of Värmland). The libretto for "Värmlänningarna" was written by F. A. Dahlgren. The music was composed by Andreas Randel or adapted from traditional sources. This six-act melodrama, written in 1846 and set in the province of Värmland, was a love story about a young peasant couple who, with considerable difficulty, overcome hostile parents and local convention. Audiences identified closely with the hero and heroine, seeing in the plot the sorts of difficulties familiar in their own lives.

The Swedish title of the play has a variety of spellings.

SONGS FROM VÄRMLÄNNINGARNA Ack Värmeland du sköna (O Vermeland thou lovely) I villande skogen (All in the dim forest) Jag sjunger och dansar (I sing and I dance) F. A. DAHLGREN SONG
Å jänta å ja' (The maiden and I)

"Värmlänningarna" was frequently performed in Minneapolis and St. Paul during the 1910s and 1920s. The Pence Auditorium at 10th and Hennepin was located in the former home of Hennepin Avenue Methodist Episcopal Church.

contents viii

9 Jag går i tusen tankar (142 A thousand things I ponder)

Jag sjunger och dansar 180


University of Michigan > Music Library Scores Collection

http://quod.lib.umich.edu/s/scores/5260591.0001.001/5?q1=132&view=image&size=100

Title: Songs of Sweden : eighty-seven Swedish folk- and popular songs / collected and edited by Gustaf Hägg ; the English translations by Henry Grafton Chapman.

Collection: Music Library Scores Collection

Hosianna, psalm for Advent / miscellaneous Swedish pioneer reminiscences

Emory Lindquist. "A Swedish Immigrant Woman Views Her Home in Kansas, 1870-1881: The Letters and Diary of Ida Nibeius Lindgren." Swedish Pioneer Historical Society 16.1 (January 1965) 3-17.

http://collections.carli.illinois.edu/cdm4/item_viewer.php?CISOROOT=/npu_sahq&CISOPTR=3083&CISOBOX=1&REC=14

However, there were times of joy for Ida Lindgren admist the austerity of life. The first CHristmas in Kansas was spent in the hoe of Ida's brother, Magnus Nibelius, and his wife, Johanna. They sang familiar Swedish psalms and the well mown Christmas anthem, Hosianna. Ida was surprised and pleased to receive a rocking chair from her husband. Included among her other gifts were two vegetable dishes, three dozen clothes pins, a pair of gloves, a knitting bag, and some cloth to cover a small sofa belonging to the children. Ida gave her hosts a soft pillow and two pictures of Gustaf Vasa which had been brought from Sweden. (7)

Hosianna, Davids son. Psalmen Hosianna, Davids son (sjungen på advent och palmsöndagen)(Sv Ps 105) sjungs mäktigt vid Oasrörelsens sommarmöte i Borås 21 juli 2009.

Wikipedia at http://sv.wikipedia.org/wiki/Hosianna,_Davids_son says [in Google translation]: "Hosanna to the Son of David is an advent song and hymn originally composed for four-part mixed choir and organ around 1795 by Abbé Vogler for Swedish text. [1] It is one of the most sung Advent songs and the first hymn in the Finnish and Finland-Swedish hymnal 1986. / The song was part of a work on the Passion story, as Abbé Vogler built in St. Clara Church in Stockholm, March 20 1796. "

C.J. Snodgren, "A Brief History of the Augustana Synod." The Augustana Synod : a brief review of its history, 1860-1910 (Rock Island: Augustana Book Concern, 1910). 25-27. Internet Archive. 2007.

http://archive.org/details/augustanasynodbr00augu.

Of another congregation its minister wrote : "After a few months they began to pay attention to the sermon." Of another it is related : "The people were beside themselves with joy (i. e. over the visit of a minister). Services were announced for the following day (a Saturday) in the school-house, and all who could crawl or walk assembled. Many of them had lived there five and six years and during all that time had never heard a sermon. When they began the service by singing psalm 328 : 'Blessed Jesus, at Thy Word we are gathered all to hear Thee' (Hit, o Jcsu, samloms vi att ditt helga ord fa bora) [26] the singing was smothered by sobs and only after some minutes were they able to continue. -- -- At another place, when a visiting minister arrived and introduced himself to one of the members, the latter replied : "Oh, that's d--d fine now we can have communion." At another the members invited all the strangers to share their frugal meals, showed a cordial interest in each other, associated as members of a single, happy family and shared their temporal and spiritual experiences with one another. The spirit resting over the little flock was that of the early church at Jerusalem. At another place, when the minister returned to his quarters after service, the host and a few of his confreres had placed a pan of whisky on the stove and set fire to the ingredient to prepare a hot drink "after church." The minister affected alarm, grasped the burning pan, rushed to the open window and launched the whole thing into space, calmly remarking: "A good thing I came, otherwise the house might have caught fire." [27] The disappointed "thirsty souls" looked hard at the floor and said nothing. In a letter from still another congregation we read in part as follows : "Lord, Thou Physician of Israel, Thou that art able to do far more exceedingly than we can pray or think, send us a shepherd according to Thy heart ! Lord God, do not permit Thy church to remain empty of both preacher and hearers, but be gracious unto us and hear the sighing of our hearts. Man does not live of bread alone, but of each word that proceedeth out of the mouth of the Lord. Send us Thy word and Spirit; yea, send us what can save our souls. - When the watchman is absent, the deceitful tempter is not discovered so readily. Help us ere we perish !" We have room for only two more samples : In a certain other congregation the service was carried out by one of the members. When they were through and on the way home, he called out: "Hold on, boys; I forgot to read the benedic- tion," to which they shouted back : "Save it till next time !" But in yet another a few settlers gathered in a private house to celebrate Christmas. They had procured a tree, and candles were placed in the windows. No minister was present, but a leader read the Christ- mas story in Luke 2, spoke a few heartfelt words and led in earnest prayer; and the simple service made such a profound impression on those present that all embraced each other and wept like little children. the memories and emotions that must have swept over that little gathering of pilgrims in a strange land!


Dag Blanck. The Creation of an Ethnic Community: Being Swedish American in the Augustana Synod, 1860-1917. Carbondale: Southern Illinois UP, 2006. 116.

"Lars Furuland has noted that [Pehr] Thomasson was probably the most widely read author of Swedish fiction before Strindberg (453,000 copies of his Kung Oskar och skogvaktaren were printed in numerous editions), and in 1866 a Swedish magazine commented that emigrating peasants in Gothenburg would buy a Bible, a hymnal, and works by Thomasson before boarding the ship."

Thomasson, 1818-1883, was a former farmhand who became a successful poet and novelist. Promoted Swedish peasantry and national history.


Also, from "Swedish Lutheran pioneer missionaries" by C.J. Petri. The Augustana Synod : a brief review of its history, 1860-1910 (Rock Island: ABC, 1910). on page 12:

We should fail to state the whole truth were we to limit our thoughts and considerations to these early pioneer ministers. In the various settlements there were many laymen who, burning with a zeal for the Lord and his cause, labored faithfully for the upbuilding and the extension of the Church. They were not men with any theological training, but they knew their Bibles, loved the Catechism and ad- mired the hymns and songs of the Lutheran Zion, and, filled with the Holy Spirit, they practiced their faith, prayed to their God and preachedaboutthewonderfulrichesofgraceinChristJesus. They laid a good foundation for the future upbuilding and development of the Swedish Lutheran Church in America. The past history of the Augustana Synod has verified the wisdom and nobility of their labors. WetheirchildrenwillbythegraceofGodhonortheirmem- ories and faithfully maintain their godly life, their spiritual power, and loyally serve Christ and his Church.

Monday, September 02, 2013

"Nutfactory Shuffle," a cool jam tune to inspire us for Prairieland Strings and the New Salem trad music festival

Blast email sent to Prairieland Strings and Clayville Pioneer Academy of Music lists a couple of minutes ago ...

Hi everybody --

A reminder -- we have two events this week: Our regular "first Tuesday" session of the Prairieland Strings dulcimer club and the Traditional Music Festival all day Saturday in the historic village at New Salem. Instead of holding our Clayville Pioneer Academy of Music teaching-and-learning jam Saturday in the barn at Clayville, we're encouraging all our Clayville folks to join us at New Salem. Here are the 4-W's on both:

-- Tuesday, Sept. 3, 7-9 p.m. at Atonement Lutheran Church, 2800 West Jefferson, Springfield. Prairieland Strings "First Tuesday." We'll look at more Christmas music, and easy, fun tunes we can play at New Salem.

-- Saturday, Sept. 7, 10 a.m.-5 p.m., Lincoln's New Salem State Historic Site, off Ill. 97, Petersburg. Traditional music festival.

And Deanna and Pete Langheim will play in a benefit show for the Senior Center of Illinois at Sacred Heart Griffin at the end of the month. Details below.

PRAIRIELAND STRINGS

At Tuesday's meeting, I plan to bring an old-fashioned boom box and play Jean Ritchie's "Aunt Rhodie R.I.P.," a sort of a virtuoso requiem for a gray goose that incorporates a little bit of everything from "Jesus Loves Me" to the fourth movement of Beethoven's Ninth Symphony, to inspire us all. And we'll choose a Christmas ensemble from Steve Eulberg's collection "Deck the Halls" for our annual Advent performance. So check out Steve's website at

http://owlmountainmusic.com/shop/deck-the-halls/

But mostly we'll focus on getting ready for New Salem by identifying fun tunes that are easy to play. To help us get in the mood, I'm sending around a link to a video clip of one we haven't played too much lately. It's "Nutfactory Shuffle" by Gil Anderson, and we don't want it do drop out of our repertory! Here's the video, uploaded by YouTube user Dustin Mathieu ...

http://youtu.be/Y9Waqm-YnwU

"Nutfactory Shuffle" dates from the early 1980s, and it's become a great favorite at dulcimer jams all over. Sue Carpenter tells the story on her website at

http://www.suecarpenter.net/free-tab/nutfactory/nutfactory-and-gil-story-2.pdf

"Gil built dulcimers and sold his instruments at craft fairs. At one of those fairs at a mall, Gil’s booth was in front of the Nut Factory. Few people paid him much attention, being more concerned with designer labels than with traditional instruments, so he took out his dulcimer, and as he played, he came up with this piece. Not sure just what to call it, he had a stroke of genius as he watched people shuffling out of the Nut Factory across the way, popping peanuts and cashews in their mouths; he decided to dedicate it to all those shoppers who rush about their business with no heed for the pleasures and beauty of dulcimer music."

Get her tab, listen to a MIDI file, download a instruction sheet with "Tips for Playing and Smoothing Out Your Strums" or do all three from Carpenter's directory at

http://www.suecarpenter.net/tab-nutfactory.htm

NEW SALEM

Since our first-Saturday monthly learning jam session at Clayville conflicts with the New Salem Traditional Music Festival this year on Saturday, Sept. 7, we're especially inviting the Clayville folks to join the Prairieland Strings at New Salem. It lasts from 10 a.m. to 5 p.m., and we'll gather somewhere at the lower end of the historic village between the Lukas-Ferguson house and Dr. Allen's. Here's the Illinois Times blurb on the festival (which also includes a Friday night concert):

http://www.illinoistimes.com/Springfield/event-10370-traditional-music-festival.html

SENIOR CENTER BENEFIT

Deanna Langheim announces she and Pete will play the song "Illinois" for the mature mob show called "Road Show USA" Sept. 20, at 6 p.m., Sept. 21, at 1 p.m., and Sept. 22 at 1:00 p.m. At the Sacred Heart Griffin Theater, 1200 W. Washington St. Admission is $15.00 at door and proceeds go to the Senior Center of Illinois.

Sunday, September 01, 2013

Carl Michael Bellman - Fredmans Sång 21 [Så lunka vi småningom / Away We Trot] in Swedish and English

One of Bellman's best and, I think, most accessible to modern listeners. Learnable. Playable [in D for dulcimer no less]. And lyrics available translated into English!

Bellmann by Thord Lindè - Fredmans sång Nr.21.MP4. Från fantastiskt Bellman-konsert på vackra Nyckelviksdagen 4.September 2011 med Thord Lindé och Bacci Blåsare, uppfört i Billardhuset.på Stora Nyckelvikens herrgård. Text för sången kan efterläst i Bellman-sidan:

http://www.bellman.net/texter/sang.php?nr=21

... där också finns information om Thord Lindé. [Wild mike and mannered performance but nice ambience.]

Fredmans Sång 21 (Så lunka vi Småningom). Very nice duet in Swedish:

http://youtu.be/omzlyixC-yo

Martin Best - Away We Trot, Song 21 Bellman in English. Martin Best sings the "Away We Trot" in English (Songs of Fredman no 21 (original title: "Fredmans sång No 21" written by the Swedish poet and composer Carl Michael Bellman(1740-1795)

In comments:

Forcystus85 3 months ago
I want the lyrics for this!!

Gunvor Gördel 3 months ago
Away we trot, soon, ev'ryone from this our noisy bacchanal, when death calls out: "Good neighbour, come, this hour-glass, friend, is full!" Old fellow, let thy crutches be, thou youngster, too, my law obey, the sweetest nymph who smiles on thee, shall take thine arm today! Is the grave too deep? Then take a sip! Raise the brimming goblet to thy lip! Yet a sip! Ditto one, ditto two, ditto three... then die contentedly!
Reply · in reply to Forcystus85

[adds three more verses]

Forcystus85 3 months ago
Excellent! Many thanks!
Reply · in reply to Gunvor Gördel

Saturday, August 31, 2013

"En stjärna gick på himlen fram" in Swedish and English / link to online facsimile edition of 1899 Augustana Synod Hymnal

En stjärna gick på himlen fram. Cf. Puer natus in Bethlehem / Ein Kind geborn zu Bethlehem / Ett barn är födt i Bethlehem

Johannes Dillner, Melodierna till Swenska Kyrkans Psalmer, Noterade med ziffor, för Skolor och Menigheten (Stockholm, 1830): No. 67.


Nätkoralboken. Swedish website on blogspot has MIDI file that plays along with the with notation in Dm. [Also, in another post, that Danish arrangement based on a 16th-century (?) German melody I found in the book I bought at the Helligaandskirken used book sale].

http://koralboken.blogspot.com/2011/03/en-stjarna-gick-pa-himlen-fram.html

This is a website worth coming back to: "Självspelande koralbok till minne av Johan Dillner (1785-1862), som för ökad koralkännedom startade kyrkokör samt spred ensträngat "Psalmodikon" med noter i sifferskrift. För att se bloggarkivet, klicka på pilarna till vänster om årtal resp. månad (ej på själva årtalet/månaden). Register finns längst ner. För att se hela notblad eller välja tempo och volym, klicka på knappen NOTEFLIGHT i nedre högra hörnet av noterna. Ev. rättelser och andra synpunkter skickas till andreas.holmberg[at]skutan.eu."


"A star is moving through the sky. Halleluiah!" Hymnal: for churches and Sunday-schools of the Augustana Synod. Rock Island: Lutheran Augustana Book Concern, 1899. No. 45.
Denomination: Evangelical Lutheran Augustana Synod of North America

http://www.hymnary.org/hymnal/HCSS1899


Wikipedia notes --

http://sv.wikipedia.org/wiki/En_stjärna_gick_på_himlen_fram. "Psalmen bearbetad av Laurentius Jonae Gestritius och trycktes efter hans död första gången 1619. Psalmen översattes troligen eller bearbetades av Jesper Svedberg 1694 ... text arr. Wallin in 1819 psalmbook. [No. 67A, 67B - in Am]. Melodin är en medeltida julvisa från 1553. I 1697 års koralbok anges att melodin också användes för psalmen Ett barn är födt i Bethlehem (nr 145).

http://sv.wikipedia.org/wiki/Johan_Olof_Wallin. Directory of Wallin's hymns (which looks like it's practically everything in the 1819 psalmbook).

Friday, August 30, 2013

"Savior of the Nations Come" / also 1881 book catalog cites to student anthology, Moody-Sankey gospel songs in sifferskrift

[Världens Frälsare kom här / Nun komm, der Heiden Heiland]

Swedish version of the Advent hymn Veni redemptor gentium, of the oldest in the history of Christian psalmody, in sifferskrift tab for psalmodikon -- and in several versions over the centuries, including Luther, Bach (including a gorgeous piano transcription by Busoni) over the years. Also widely known by its German title Nun komm, der Heiden Heiland after Luther's 1524 translation (mel. Johann Walter). Text is reliably assigned to St. Ambrose (d. 397 CE). Wikipedia article "Världens Frälsare kom här" says of the melody that "[i]t is not ruled out that it is by Ambrosius" (in Google translation at

http://sv.wikipedia.org/wiki/Världens_Frälsare_kom_här").

But the earliest notated manuscripts date from the 12th century. Cf. the usual thorough and scholarly discussion in article "Chorale Melodies used in Bach's Vocal Works -- Nun komm, der Heiden Heiland" on the Bach Cantatas Website at

http://www.bach-cantatas.com/CM/Nun-komm.htm

Tab below from Johannes Dillner. Melodierna till Swenska Kyrkans Psalmer, Noterade med ziffror, för Skolor och Menigheten. Stockholm, 1830. Rpt. Charleston, SC: Nabu, 2012.

The mode is Aeolian. Dillner has tables that relate the different modes to the psalmodikon's fretboard. The note at the top of the hymn indicates it is A, and +2-3-6-7 indicates it is Aeolisk or Aeolian. Another table lists the modes: Cf. +2+3+6+7 for Ionisk, +2-3+6-7 Dorisk and +2+3+6-7 for Mixolydisk. Plusses (+) are sharp, and minuses (-) are flat.

Julstämning del 1 i Landala Kapell 2011. Landala Kapell second day of Christmas, w/ Hvitfeldtska Gymnasiets Kammarkör w/ friends. Dir.: Martin Bagge. Världens Frälsare kom här begins at 7:30 and lasts till 10:57. Note congregation rising for last verse at 10:35.

Alauda: Världens frälsare kom här. Alauda (Agnes Lindberg, Sara von Bahr Grebäck, Helena Johansson, Olle Lindberg): Världens frälsare kom här (psalm 112, Aurelius Ambrosius, arr Agnes Lindberg), 2010-12-18

»Nun komm, der Heiden Heiland« - Alte Weihnachtslieder Neu - Berliner Solistenchor. Christian Steyer and his Berlin based Jazz & Gospel Choir »Berliner Solistenchor« performing «Alte Weihnachtslieder Neu» for piano and choir since 1999. Recorded live at Segenskirche Berlin, December 2008. For concerts and infos please visit: www.christiansteyer.de

Horowitz, Bach-Busoni "Nun Komm der Heiden Heiland." "Vladimir Horowitz, the last romantic", 1985 filmed recital in his living room with his wife Wanda Toscanini-Horowitz.

And a chorale variant from Estonia performed by the String Sisters ...

String Sisters:Världens frälsare/Gabhaim Molta Bride/Luseblus. Världens frälsare(Saviour of the world) is a chorale from the islands of Estonia where the Swedish language was introduced in the 13th century.This is one many hymns collected from this area, sung by the descendents of the original settlers. -- Emma.

Also in this set:

  • Gabhaim Molta Bride.This is an old song praise of one of the most famous Irish saints,St.Brigid.She was also a pre-Christian Celtic goddess who protected livestock.Her saint day is at the beginning of the month of February, and it heralds the springtime and the rejuvenation of live. -- Mairead
  • Lusebus.In Norwegian,we call the small animals that sometimes live in our hair,and make us itch,"lus"."Blus" is how we pronounce the music style blues. This is a luseblus. -- Annbjorg


Google Books stub page (no book, just title and publisher): 20 svenska folkvisor i not- och sifferskrift: Till folkskolornas tjenst, L. Aug Lundh. Stockholm: Elkan & Schildkneeht, 1881.


SVENSK BOK-KATALOG
JEMTE MUSIK FÖRTECKNING for Aren 1876 1885
STOCKHOLM ADOLF BONNIER
I KOMMISSION FÖRLAGD AF SVENSKA BOKFÜRLÄGGARE I ÖRENINGEN.

Svensk bok-katalog. Tidningsaktiebolaget Svensk Bokhandel, 1890 -- *171, 140, 27, 320, 57, Google eBook

p. 171 -- Melodier till andliga sånger, sjunga af I.D. Sankey. [I sifferskrift.] I, II. Liten 8:o, 120 o. 100 s. Örebro, Söndagsskolfören. 76.

follows entry Melodier till andliga sånger etc. for en eller flera roster med accompagn. af orgel el. piano. same publisher Örebro, Söndagsskolfören

Swedish choral music -- misc links

Excerpt from http://en.wikipedia.org/wiki/Music_of_Sweden

Sweden has a long tradition of professional and amateur choir singing. A large percentage of the Swedes sing in amateur choirs in various styles. The choirs of Sweden are among the best in the world, with the Radio Choir, owned by Sveriges Radio (Swedish public radio) being one of the world's top professional classical choirs. Orphei Drängar (OD) is a world class male choir singing both in Swedish and other languages. The world famous choir leader Eric Ericsson started his career as chief conductor of OD in the 1950s.


NPR blog post: http://www.npr.org/blogs/health/2013/07/09/200390454/when-choirs-sing-many-hearts-beat-as-one. Literally! Reports Anna Haensch:

Lifting voices together in praise can be a transcendent experience, unifying a congregation in a way that is somehow both fervent and soothing. But is there actually a physical basis for those feelings?

To find this out, researchers of the Sahlgrenska Academy at the University of Gothenburg in Sweden studied the heart rates of high school choir members as they joined their voices. Their findings, published this week in Frontiers in Neuroscience, confirm that choir music has calming effects on the heart — especially when sung in unison.

Using pulse monitors attached to the singers' ears, the researchers measured the changes in the choir members' heart rates as they navigated the intricate harmonies of a Swedish hymn. When the choir began to sing, their heart rates slowed down.

"When you sing the phrases, it is a form of guided breathing," says musicologist Bjorn Vickhoff of the Sahlgrenska Academy who led the project. "You exhale on the phrases and breathe in between the phrases. When you exhale, the heart slows down."

Very nice four-minute video, in Swedish with subtitles, over track of choir singing (and a really, really nice decorative floral painting on cabinet in the background).


KAY POLLACK interview: "AS IT IS IN HEAVEN" Australian TV


As It Is in Heaven (2004). Kay Pollak (Director) Amazon.com

ACADEMY AWARD® NOMINEE: BEST FOREIGN LANGUAGE FILM

Nominated for Best Foreign Film at the 2005 Academy Awards®, As It Is In Heaven is the story of Daniel, a successful international conductor who returns to his childhood village in Sweden. Soon thereafter, the local church choir seeks him out to solicit his advice. He can't refuse, and nothing in the village is the same again. As the amateur choir develops and grows, he is drawn to the people of his old hometown, makes friends and finds love... A beautiful and engaging film, As It Is In Heaven is a wonderful story about life and love that is sure to inspire and delight. Starring Michael Nyqvist, of the upcoming Millennium series of films, from the books by Stieg Larsson.


Engaging and very opinionated blog post "Sweden Blows U.S. Away with its National Music Scene" by web designer, musician and freelance writer Zac Shaw on his blog Mediapocalypse. Quotes Wikipedia entry on Sweden, "... out of a population of 9.5 million, it is estimated that five to six hundred thousand people sing in choirs." Adds:

Wow, so 15% of Sweden’s population sings in a choir. What do 15% of American citizens do?

  • 15% use food stamps
  • 15% are anti-Semitic
  • 15% believe in godless evolution
  • 15% have never been to a concert
Shaw Googles up some more statistics, plus coverage of a $6,000 (45,000 SEK) grant to an electro-pop band, concludes, "Could it be that simple? Could Sweden’s secret be public funding of the arts?"


KÖRSAM http://www.korsam.se/english.htm Federation of Swedish Choir Associations KÖRSAM is the Federation of Swedish Choir Associations on national level. We are currently nine member organizations and with a total of well over 100 000 singers and 600 choral directors KÖRSAM is an important meeting place for Swedish choral music.KÖRSAM is also the representative of Sweden's choral music life towards public authorities as well as music and non-music institutions of all kinds.


Review in http://singers.com/cds/swedish-choral-music/ directory of

Allmanna Sangen : Resonanser

Review: The Swedish choral tradition enjoys a very high reputation, with music lovers often claiming to be able to recognize a uniquely Swedish choral sound. Exactly what this sound consists of is difficult to pinpoint, but often mentioned are keywords such as melancholy, the Scandinavian countryside, folk music and traditional ballads. The selection of works on this disc exemplifies all of these, and the performance of them has been entrusted to one of the choirs that have shaped Swedish choral music: Allmaanna Sangen, an Uppsala student choir with a history going back for more than 175 years. The choir's position in Swedish cultural life was demonstrated in 2005 by an invitation to sing at the Nobel Banquet. That performance was televised throughout the world, and in fact included three of the works on this disc - Biegga Luothe, Glaspolskan and Byss-Kalles slangpolska. Great traditions notwithstanding, this disc offers a new perspective on its subject, as the choir brings out new resonances in the often well-known music. A collaboration with Swedish jazz pianist Anders Widmark lends unusual colours to settings of ancient folk chorales (I Himmelen) and traditional harvest songs (Slattervisa), as well as to classics from the treasure of Swedish choral music such as Stenhammar's Three Choral Songs and Alfven's Evening. Both Allmanna Sangen and Anders Widmark have made a number of successful recordings, and now that they join forces for the first time, it is an occasion not to be missed.

* * *

Allmänna Sången https://www.google.com/#q=Allmanna+Sangen.

[Google trans.:] General Song was founded in 1830 as a men's choir , but was converted into a mixed choir in 1963. The choir is Scandinavia's oldest university fragile . It's Uppsala-based and consists of about 50 singers. In addition to regular concerts do in Uppsala, traveling choir in and outside Sweden on tour, recording CDs and participates in radio and television. Conductor is Maria Goundorina . Since the 2005 's Crown Princess Victoria choir patroness.

Thursday, August 29, 2013

Peter Hedlund, the Swedish immigrant who made the psalmodikon in the Steeple Building at Bishop Hill, and sister Anna Hedlund Nystrom

http://archive.org/stream/svenskarneiillin00john/svenskarneiillin00john_djvu.txt

SVENSKARNE I ILLINOIS. HISTOKISKA ANTECKNINGAR SAMLADE OCH UTGIFNA AF ERIC JOHNSON och C. P. PETERSON. CHICAGO: TRYCKT HOS "W. "WILLJAM90N, 1 & 3 N. CLAKK STREET, 1880.

HEADLUND, PETER, farmer å sek. 7; eger 115 acres ; är född i Hanebo, Gefleborgs län; kom till Amerika och Bishop Hill 1850; gifte sig 1867 med Anna Anderson frän Nora; tror på kristendomen, men tillhör ingen kyrka; independent i politiken ; postk. Galva.


http://archive.org/stream/historyofhenryco02kine/historyofhenryco02kine_djvu.txt

HISTORY OF HENRY COUNTY ILLINOIS, By HENRY L. KINER. CHICAGO: THE PIONEER PUBLISHING COMPANY, 1910

PETER HEDLUND.

Peter Hedlund, deceased, was one of the well-to-do farmers of Henry county, living on section 7, Galva township. Of Swedish birth and parentage he was born February 21, 1840, in Handbu, Helsingland. His parents, Carl and Anna (Olson) Hedlund, both claimed Helsingland as their birthplace and America as the land of their adoption. The father died in middle life on Lake Michigan while on his way to Bishop Hill, but the mother survived the journey and

HISTORY OF HENRY COUNTY 911

reached the little Swedish colony. In 1862 she removed to Galva township, where in 1886 she died at the advanced age of eighty years. Three sons and one daughter were born to Carl Hedlund and his wife: Olof, of Sweden; Carl, deceased ; Peter, of this review ; and Anna, the wife of Eric Nystrum, of Bishop Hill. The two oldest sons were both soldiers, Olof in the regular army of Sweden and Carl in the Civil war in this country. The father was a tailor by trade and also a farmer.

Peter Hedlund was but ten years of age when the family came to this coun- try, and he grew to manhood in Bishop Hill. His days were devoted to farm work, and on many an occasion he drove a yoke of oxen in breaking prairie. In 1862 he removed to Galva township, where he first shared a small tract of land with the Bishop Hill colony, and later bought a little place of his own, to which he added continually until at the time of his death he had accumulated about one hundred and seventy-eight and a half acres. On this tract he made his home, having improved it with a good house, a barn and other buildings and brought the soil to a greater productiveness.

Mr. Hedlund was married on the 22d of June, 1867, to Miss Anna Ander- son, a daughter of Andrew and Anna (Peterson) Anderson. She was of Swedish birth, having been born in Westmanland, July 30, 1837, and of Swedish ancestry. Of her parental grandfather, who died before she was born, Mrs. Hedlund remembers very little, but her maternal grandfather was Peter Gregu- lius, a native of Sweden and a farmer. His wife was Catherine Gregulius and was about eighty years of age at the time of her death. They had six daughters and one one son: Catherine, Christine, Gregulius, Anna, Beta, Brita and Mar- garet. Mrs. Hedlund's parents, also of Swedish birth, came to America in 1850 with the Bishop Hill colony, in whose midst the children grew to maturity. In

1863 the family came to Galva township, which was their home until the death of the parents, the father dying in 1886 at the age of seventy-nine, the mother the following year at the age of eighty. There were five children, three sons and two daughters born to the couple : Peter, Andrew, John, Anna and Catharine. The last named died on the Atlantic, while coming to America.

To Mr. and Mrs. Hedlund were born four children, two sons and two daughters : Peter E., Laura A., Alice A. and Charles A. Three of the children live at home, but Alice has married Charles Stoneberg, who lives two miles north of Bishop Hill, and they have two sons, Charles H. and John E. Mr, Hedlund gave allegiance to no political party, but cast his vote as seemed to him right. A good man and true, he was deeply mourned when, at the age of fifty-five years, he was called away, June 9, 1895.


http://wc.rootsweb.ancestry.com/cgi-bin/igm.cgi?op=GET&db=bishophill&id=I17

  • Name: Anna Hedlund
  • Sex: F
  • Birth: 11 DEC 1842 in Södra Kyrkbyn, Hanebo Parish, Gävleborgs Län, Sweden

GL12/66 December 1936, Mrs. Eric Nystrom observed her 94th birthday December 11 in her home when relatives and friends spent the afternoon with her. --

GL12/67 December 1937, Mrs. Anna Nystrom observed her 95th birthday at a gathering in the home of her grandson and family, Mr. & Mrs. Glenn Lindstrum. --

SPANY p.243 #13, p.244. Sailed on the Aeolus out of Söderhamn. Arrived in New York Sept. 17, 1850. The family received papers in Gävle May 29, 1850.

From the May 13, 1939 Kewanee Star Courier

Bishop Hill - Mrs. Eric Nystrom, better known around here as "Grandma" Nystrom, is seriously ill at the home of her granddaughter, Mrs. Vernice Nelson, north of town. Mrs. Nystrom celebrated her ninety-sixth birthday in December of the last year. Up until November she had been living alone in her home here doing her own housework, but since then because of her rapidly failing health she has been at the homes of her grandchildren where she has been confined to her bed most of the time. She is one of he few remaining colonists who helped to establish this place. All of her life it has been a great pleasure to her to recall events of the Bishop Hill colony in which she was so vitally interested.

From the May 18, 1939 Galva News.

Anna Nystrom, Oldest Bishop Hill Lady, dies

Mrs. Anna Hedlund Nystrom, 96, oldest resident of the Bishop Hill community, died at 1:30 this morning in the home of her granddaughter, Mrs. Vernice Nelson, north of Bishop Hill, following gradually failing health during the past several months.

Funeral services will be held Saturday afternoon at 2 o'clock from Bishop Hill Methodist Church, in charge of Rev. H. J. Diercks.

Anna Hedlund was born December 11, 1842 at Hannabo, Sweden, a daughter of Carl and Anna Hedlund, her twin brother, Andrew Hedlund, passing away at the age of five weeks. Three other brothers, Olof, Carl and Peter, also preceded her in death.

Came to U.S. in 1850

In 1850, when she was seven years old, she came to America with her parents and two brothers, Carl and Peter, the father being stricken with cholera during the trip and was buried in Lake Michigan. The group traveled from Chicago to Bishop Hill by wagon and located in Red Oak where they lived in a log cabin. Later, the mother, Anna and brother Peter lived in the old church building for ten years and after the dissolution of the colony moved to a farm northwest of Bishop Hill known as the Hedlund homestead. (note: I think the homestead was probably northeast of Bishop Hill - BN)

Her marriage to Eric Nystrom took place in December, 1864, in Galva. Eric and his parents having come to United States on the same boat with the Hedlunds. Following their marriage they lived in Moline for a time and moved to a farm in the Bishop Hill vicinity. Two daughters were born to them: Adaline (Mrs. David Aline), who died in Oregon in August, 1935, and Lillie (Mrs. Albert Lindstrom), who died in the Bishop Hill community in May, 1931. Mr. Nystrom died at Bishop Hill in January, 1911, at the age of 70. Her mother died at the age of 82.

In 1907 Mrs. Nystrom fractured her hip adn had since been handicapped physically. During the past 20 years she had lived alone in Bishop Hill, enjoying good health , altho for two years past she had been spending the ime with her grandchildren and had been with Mrs. Nelson during the past nine weeks. Her friends and co-worker in the colony, Mrs. Elizabeth Hallfast, preceded her in death February this year at the age of 96.

11 Grandchildren Survive

Surviving are 11 grandchildren, as follows: Raymond Lindstrom, Vernice Nelson, Glen Lindstrom and Pearl Ericson, all of Bishop Hill and community; Francis, Rose, Herman, Anna, Lois, Clarence and Eleanor, children of Mrs. Aline, living in Washington and Oregon. During the past winter two of the grandsons from Oregon had visisted Mrs. Nystrom. Also surviving are 15 great-grandchildren, eight of them in Illinois. The son-in -law, Albert Lindstrom, also survives at Bishop Hill.

According to her obit in the Galesburg Daily Register Mail, May 23, 1939, after the family left the cabin in Red Oak, they lived in the "old church building for 10 years".

According to her obit in the Chicago Daily Tribune, May 19, 1939, "As a girl she worked in the colony's broom factory".

Tuesday, August 27, 2013

Clayville-Prairieland Strings jam sessions in September -- anniversary of first documented dulcimer in Virginia, 1832

Blast email I just sent out ...

Here's a list of events and meetings for the Clayville Pioneer Academy of Music and the Prairieland Strings in September ...

But, first, tomorrow we have an anniversary. Call it a birthday, if you want. To celebrate it properly:

1. Get out your dulcimer and play the "Happy Birthday" tune.

2. The second time through, sing the following verse:

Happy birthday to you, Happy birthday to you, Happy birthday, dear dulcimer, Happy birthday to you.

(Be careful to not charge money for the performance, though! The birthday song is still under copyright.)

Anyway, tomorrow is a date that looms large in dulcimer history. The earliest signed and dated mountain dulcimer of reliable provenance was made by John Scales in Floyd County, Va., and dated Aug. 28, 1832. So by my calculation, that makes the dulcimer 181 years old.

To the schedule ...

Since our first-Saturday monthly learning jam session at Clayville conflicts with the New Salem Traditional Music Festival this year on Saturday, Sept. 7, we're especially inviting the Clayville folks to join the Prairieland Strings at New Salem. It lasts from 10 a.m. to 5 p.m., and we'll gather somewhere at the lower end of the historic village between the Lukas-Ferguson house and Dr. Allen's. Here's the Illinois Times blurb on the festival (which also includes a Friday night concert):

http://www.illinoistimes.com/Springfield/event-10370-traditional-music-festival.html

We've also got the Clayville Fall Festival Saturday, Sept. 21, and Sunday, Sept. 22. We've committed to play from 1 to 4 p.m. Sunday, and we hope to have groups of Clayville and Prairieland folks playing throughout the weekend. Since it's a festival, we're combining the Clayville and Prairieland groups (we play at each other's jams anyway). The Clayville festivals are getting to be like the ones we used to have there back in the 80s and 90s -- they feature all kinds of arts, crafts and activities, and we've really enjoyed them when we play them. Link here for details:

http://clayville.org/clayville_fall_festival_2013

Prairieland Strings meetings, at Atonement Lutheran Church, 2800 West Jefferson, Springfield, are at the regular times.

So here's a tentative calendar for the month:

-- Tuesday, Sept. 3, 7-9 p.m. at Atonement. Praairieland Strings "First Tuesday." We'll look at more Christmas music, and easy, fun tunes we can play at New Salem.

-- Saturday, Sept. 7, 10 a.m.-5 p.m., Lincoln's New Salem State Historic Site. Traditional music festival.

-- Thursday, Sept.19, 7-9 p.m. at Atonement. Praairieland Strings "Third Thursday." Open schedule. If there's something you want to do, let me know!

-- Saturday, Sept. 21, and Sunday, Sept. 22. Clayville Fall Festival.

We'll try to have more notices out to you with more details as we figure them out!

Saturday, August 24, 2013

Connecting the dots? The bum-ditty dulcimer strum, polyrhythms, a Louisiana creole song and bamboula drummers on Congo Square

D R A F T

So I'm listening to the early 20th-century tenor Roland Hayes singing his classical interpretations of African American spirituals, and all of a sudden he's singing a sprightly little tune in Louisiana creole French to a bouncy little piano rhythm that sounds very familiar, although I can't quite place it.

Curious, I get out the liner notes -- I'm playing the old Smithsonian collection of Hayes' art songs and spirituals -- and I read the song is "Mister Banjo (Michieu Banjo)," first recorded Feb. 20, 1941. Gardez piti Millate la, Mister Banjo / Comment li insolent! (Look at that little mulatto / He's so insolent). "It is a song of good-natured satire," says Ulysses Ricard of Tulane, who translated it. "The Creole folk songs of Louisisans originated in much the same manner as the spirituals and work songs of the African-American slaves of the English-speaking South." Here's Hayes' version:

Micheu Banjo (Creole Folksong) -- with Xango - MB begins at 1:57

(Xango is an arrangement of a chant in honor of a West African god that Villa-Lobos set to a Brazilian folk tune. Some interesting stuff here.)

I'm getting really intrigued now, so I go on line and I track down a notated version of "Mister Banjo" on the www.traditionalmusic.co.uk website. And as I look at the dots, I recognize that elusive little rhythm. It's the "bum-ditty." Of course in this case, it sounds more like "bum-d'ditty" the way Hayes plays it, than a class of beginning dulcimer players plodding through "Bile 'em Cabbage Down." I'm reminded of when I used to wear out my cassette tape of I.D. Stamper trying to figure out his strum. ... Stamper has always sounded kind of black to me, and not just on "Reuben's Train."

Question, and it's one I've asked before: Can we connect the dots? Does the bum-ditty have anything to do with the influence of African-American music in Appalachia? Does the lilt in old-time string band music, especially down home and over in North Carolina, have a measure of syncopation to it? Do the Anglo-Celtic and African=American rhythms interact with each other?

Connecting the dots. I believe we can do it, but it's subtle. Alan Jabbour of the Library of Congress, whom I've linked to elsewhere on the blog, has this outline sketch: "Characteristic American bowing pattern: sixteenth-note grouping of two groups of three followed by two notes - produces shifting syncopation, occurs from Texas to Virginia, considered Appalachian but is used in both black and white fiddling and is African American contribution." It's not quite bum-ditty, the way I count it out, but it's not that far away from it, either.

And I remember watching a video this summer in the minstrel shows class at Common Ground on the Hill, where Robert Winans was saying Joe Sweeney's basic banjo stroke was a "bum-ditty" clawhammer style. So I'm off and running -- call it mindful surfing instead of mindless surfing.

Winans, an emeritus professor at Gettysburg College who plays minstrel-style banjo, has an important post on bum-ditty to the Black Banjo Then & Now list designed to "help those expressing an interest in learning to play in the manner of black banjo players, a style which includes syncopation." -- linked below

And Winans says the ante-bellum minstrel tutors he has consulted strongly suggest that "their white authors have picked up as the core of pre-existing black banjo playing is “bum-diddy” (i.e., in 2/4 time, an 8th note followed by two 16th notes)."

Cf. discussion on Banjo Hangout list at http://www.banjohangout.org/archive/175735 including this: "Its the great American shuffle. The four potatoes, the Georgia bow, Jo Jones' high-hat cymbal, Maybelle's boom-chicka, Hank Williams' "crack rhythm," and the sound of the little piece of paper Johnny Cash stuck in his guitar strings to imitate a snare on the original recording of 'I Walk The Line.'"

Some printed sources:

The Power of Black Music: Interpreting Its History from Africa to the United ... By Samuel A. Floyd. http://books.google.com/books?id=UaodId2CFDUC&pg=PA156&lpg=PA156&dq=michieu+banjo&source=bl&ots=KpOL_PUSUg&sig=622m2TmnJHfmeSfiUG3WQFWSN2c&hl=en&sa=X&ei=ptkYUu7hMaes2wXvtoCIBw&ved=0CCkQ6AEwADgK#v=onepage&q=michieu%20banjo&f=false Google Books

Dorothy Scarborough , On the Trail of Negro Folk-Songs (19___) 119-20 - http://www.traditionalmusic.co.uk/negro/folk-songs%20-%200219.htm -- "The dance-songs of the Creoles are mostly nonsensical, but the music is haunting and wild, with a sensuous appeal appropriate to their dances. ... In 'Slave Songs of the United States' is printed a Creole slave song from Louisiana, making fun of a dandy Negro, which is also a bamboula."

Scarborough, a "song catcher" who was insufferably patronizing at least in her book about Appalachian music, has pix, from "Slave Songs" ... so at least she's got the dots.

Some YouTube clips:

Fisk Jubilee Singers - Recorded live from Elmina Castle in Ghana, West Africa, the Fisk Jubilee Singers perform "Mister Banjo"

Gottschalk, "Bamboula." Piano Solo with introduction by Frank French, music composed by ... Bamboula, danse des nègres for piano, Op. 2, D. - Louis Moreau Gottschalk

Bamboula 2000 drum & dance troupe at Xavier University

Bamboula 2000, Ben Hunter and special guest do a "father's day" drum circle at Congo Square - New Orleans. African, New Orleans drumming, dancing, poetry and singing. Open mic.

Bamboula 2000 is a dance and music ensemble that draws on multicultural roots that reach deep into the soil of Congo Square in the City of New Orleans. For hundreds of years, the town square played host to dance and music rituals performed by people of Caribbean and West African descent. The word bamboula refers to a love dance that was performed to the beat of drums and either a female or male traditionally performed the sensuous movements. The bamboula passed down its syncopated rhythm to strains of music found today in Martinique, Haiti, Jamaica, Trinidad, and New Orleans, including calypso, zouk, and dancehall music. Bamboula 2000 takes its heritage and updates it with its original numbers, blending elements of reggae, jazz, funk, urban, and other genres. ...

Friday, August 23, 2013

Melanie Safka sings the Hallelujah Chorus -- echoes of Woodstock and a stunning acoustic solo performance of a choral masterpiece

We are stardust, we are golden ...
And we've got to get ourselves back to the garden.
-- Crosby Stills Nash & Young

So it's a Friday night, and I'm in my home office working on my article for Dulcimer Players News, tracking down a reference I saw (in Jane S. Becker's Selling Tradition: Appalachia and the Construction of an American Folk, 1930-1940 [Chapel Hill: U of North Carolina P, 1998]: 89) to an "old folks' reunion" music festival at the John C. Campbell Folk School in in 1934. And I get distracted when I hear the 1960s singer-songwriter Melanie Safka singing "... glory, glory psychotherapy."

So I drift down the hall to Debi's office, and she's playing video clips from Woodstock on YouTube.

Anyway, you can't relive Woodstock without remembering Melanie. And vice versa. And you can't do either without remembering her legendary set, in the rain and mud during the first night of the festival on another Friday night 40 years ago. So, of course, I forgot all about the article (other than making a note of my cite from Becker and pasting it in to this blog post). ...

As Debi and I surfed YouTube, we saw a 1970s-vintage clip of Melanie performing something titled "Hallelujah" we hadn't heard before. It looked interesting. We clicked on it. And, just like Woodstock, her performance was electric. Turns out, as we listened to it, we'd heard it before after all.

It's the "Hallelujah Chorus" from Handel's Messiah.

But ...

Wow. I've heard the Hallelujah Chorus literally dozens of times over the years. I've even sung it, blowing my voice and going sharp on the high notes, in one of those college-community open choruses you don't have to audition for. People tend to either love Melanie's voice or hate it. And I'm not 100 percent sure that covering one of the great choral masterpieces of the western tradition as a pop solo, with the singer backing herself on acoustic guitar, is always a very good idea. But I thought Melanie pulled it off with utter joy and conviction. The performance doesn't quite fit into any of my categories, but I like it.

Melanie's career hasn't exactly fit into neat little boxes, either, ever since it was launched at Woodstock. She went on at 11 p.m. that first night of the festival Aug. 15, 1969, when the Incredible String Band refused to play in the rain. Melanie took the stage in their place, and it was one of those golden moments in pop/rock history -- her set was electric. Today we'd say it went viral. At any rate, it launched her career.

"[A]s a New York kid barely known outside of the coffeehouse circuit in Greenwich Village, she sang her song 'Beautiful People' and inspired the first panorama of candles and cigarette lighters ever raised at a concert event," recalls her official biography, by Robert L. Doerschuk. "That, in turn, moved the young singer to write 'Lay Down (Candles in the Rain'), which sold more than one million copies in 1970 and prompted Billboard, Cashbox, Melody Maker, Record World, and Bravo to anoint her as female vocalist of the year. Her single 'Brand New Key,' an infectious romp about freedom and roller skates, topped the charts in 1971."

Then, as far as I knew, she dropped out of sight.

But, clearly, she didn't. During the 70s she scaled back her career as three children were born, but she continued to perform for UNICEF and a variety of stage and TV shows, and through the years she recorded on a label produced by her husband Peter Schekeryk, who died in 2010. Last year her tribute Melanie and the Record Man played in upstate New York. All of the children are musicians, and one of her sons backs her on guitar when they're on the road.

"She has, in short, lived a rare life," said Doerschuk, and now "she has been putting the pieces in order." "For the first time, I'm not afraid to voice exactly what I feel," she told Doerschuk. "I used to feel that I didn't want to say too much, but now I can say anything. I feel like a person who's never been heard. Maybe people think they've heard me, but they never really have. I'm a new artist who is having so much fun with my voice -- a person shouldn't be allowed to have so much fun. I'm the woman I wanted to be when I was sixteen and going for Edith Piaf. It's me -- I'm back."

"Ring the Living Bell." Another vintage song. This one Melanie wrote, recorded in concert in Hamburg, in 1974. She has quite a fan base in Germany.

On a sad note. What got us started calling up Woodstock videos was when Debi saw the news that Linda Ronstadt has been diagnosed with Parkinson's disease. Ronstadt was at Woodstock, as a backup singer for Country Joe & the Fish.

On a happier note. We also surfed into Walter Cronkite's CBS News coverage of Woodstock on Aug. 18, 1969. It was remarkable for its depth and objectivity, although the on-the-scene network correspondents were clearly puzzled by some of the countercultural references. This is what TV news was like before the cable news networks discovered it's cheaper to broadcast in-studio speculation and commentary while you cut back on reporting.

And another happy note, 40 years after Woodstock. A lengthy interview by local journalist Kati Rausch in June 2012 at the "Schlachthof," in Soest, a town of 45,000 in North Rhine-Westphalia, Germany, with clips from her performance there.

Click here for Part 2. At 8:24 she says, "I had very lofty ideals about helping people and being of service to humanity, and I didn't think being a pop star was it, but it turned out that was what happened. ... Now, I sense that I did fulfill my purpose being a performer and singer."

Thursday, August 22, 2013

Some tentative conclusions about Appalachian dulcimer origins ** UPDATED ** w/ article on Virginia dulcimers in current Antiques Magazine

Slightly edited version below of an email message I sent to one of the faculty at Common Ground on the Hill, with whom I talked one day after class about the difficulty of documenting mountain dulcimer history. But first, a link to an important article in Antiques Magazine that contains new information about the instrument's origin ... especially among Pennsylvania Germans in southwest Virginia.

** UPDATE **

Here's a link to the everything dulcimer.com thread. Ralph Lee Smith: "The July-August issue of Antiques Magazine contains an article entitled, "The Dulcimer in Virginia," by Roddy Moore and Vaughan Webb. ... The article's many excellent illustrations include two instruments from my collection, with attribution. The article also contains references to my book, Appalachian Dulcimer Traditions. The text is well researched and excellently written."

Online version, w/o pix, at http://www.themagazineantiques.com/articles/the-virginia-dulcimer/. Among the money graf(s):

Fed by local customs, family traditions, or sometimes just the influence of one or two makers, a multigenerational dulcimer-making tradition flourished in pockets of Virginia, Kentucky, Tennessee, West Virginia, and North Carolina. Of those areas, the western Virginia Blue Ridge can make some claim to being the birthplace of the "American" dulcimer with curved sides and a raised fretboard.

Estate records from 1780 to 1860 in Virginia's Roanoke and New River valleys list more dulcimers (39) than any other instrument except the fiddle (103). Equally significant, the records point to the rapid adaptation of the instrument by non-Germans in the region.6 Nearly two-thirds of the dulcimers identified were owned by families whose surnames reflect British ancestry. It is reasonable to assume that these non-German owners were playing some, if not mostly, English-language songs and tunes with American and British origins.

Nothing to overturn Ralph's hypothesis but a lot to corroborate it. I think the part about Germans is especially significant, at least to my understanding.

** End UPDATE **

Here's the email message, which I wrote before I knew about the Antiques Magazine piece:

Finally getting around to sending you that information I promised on Appalachian dulcimers!

As soon as I got home from Common Ground, I got busy with a project on African American spirituals and camp meeting hymns for the Illinois Humanities Council, and I'm just now coming up for air. I haven't forgotten about it, though, and I've also been reading up on old dulcimers for an article on a 1930s photograph collection at Berea College that I'm working up for Dulcimer Players News. So, finally, I have some information to share.

Basically it boils down to this -- we have a signed mountain dulcimer from Floyd County, Va., dated Aug. 28, 1832. Period. That's about the size of it until after the Civil War. Even then there weren't very many dulcimers, except right around one of the settlement schools in Kentucky, until the 1930s crafts revival.

L. Allen Smith [in his book] _A Catalog of Pre-Revival Appalachian Dulcimers_ (Columbia: University of Missouri Press, 1983), discuss[es] the 1832 instrument, its provenance and Smith's reasons for accepting it as genuine. There are also a few references to dulcimers in various 19th-century written sources, but the early ones are problematic because they ones don't stipulate whether a mountain dulcimer or a hammered dulcimer is being referred to. So I think the material culture really provides the only reliable documentation until people started writing articles about the settlement schools at the turn of the 20th century in which they described the instrument in some detail.

Even then, almost all of the literature before the 1930s clearly refers to dulcimers that were being made by "Uncle Ed" Thomas and sold to people at the Hindman Settlement School in Kentucky. There were dulcimers being made by the 1880s in West Virginia, and later copied by the Glenn family in North Carolina, and still other by the Melton family and played by the 1930s in the fiddlers' convention at Galax, Va., but again the best information on all of this comes from oral tradition in the families and surviving dulcimers from an earlier period. Ralph Lee Smith's books piece together the best secondary account of the Virginia, West Virginia and Kentucky traditions. There are several good accounts of the tradition Ed Thomas started in Kentucky.

For what it's worth, I'd tentatively suggest the following timeline can be reliably documented:

-- 1830s or thereabouts, single-bouted MDs evolve from zithers in southwest Virginia;

-- 1870s, commercial makers around Hindman and Parkersburg, W.Va, begin to produce double-bouted ("hourglass") dulcimers for sale in substantial numbers;

-- 1890s-1920s, the settlement schools, especially Hindman and John Campbell, promote dulcimers as southern Appalachian cultural artifacts; and

-- 1930s onward, dulcimers reach a wider market through the Southern Highlanders Craft Guild. That takes us up to Jean Ritchie and the folk revival of the 60s.

But anything beyond that is speculative at best.

(Full disclosure: Back in the day, I got a master's in history and a PhD in English at UT-Knoxville, and sometimes I still wake up from bad dreams about my first-year historiography seminar. When I switched to English in the waning days of new criticism, we were mostly interested in textual analysis so we preferred recent scholarly editions to period sources. After I left grad school, I went into newspapering and learned an altogether more rigorous attitude about sources, because now they were alive to complain if I quoted them out of context! So it was kind of fun to go back over the literature about dulcimers with an eye to the academic standards for handling sources.)

Basically I accept Ralph's theory that the MD evolved from Pennsylvania-German zithers along the Great Wagon Road in southwest Virginia, and I think he supports it with as much evidence as will ever be available concerning what began as a folk tradition; Ralph doesn't have an academic background, but he's a first-rate collector, he's very knowledgeable about the world of antiques and he's careful about the conclusions he draws. L. Allen Smith, who is not related to Ralph, studied all the MDs he could find in the 1970s for his doctoral dissertation in English at the University of Leeds, and I'd say it's still accepted as the authoritative source for documenting the history of the instrument. [He] discusses the Floyd County instrument in considerable, and I think quite convincing, detail.

There's also a 2005 paper titled "The Dulcimer in Southwestern Virginia" by Kimberly Burnette-Dean (linked below) that I think is pretty important because it tends to corroborate Ralph's hypothesis. Burnette-Dean, who used to work at a historical theme park in Roanoke, surveyed estate inventories from 1780 to 1860 in 12 counties, and came up with listings of 39 dulcimers from 1818 throughout the period. While none were described in enough detail for us to know whether they were hammered dulcimers, mountain dulcimers or something else, I think she made a reasonable case that most of them were valued around $1 in the inventories, which would be more consistent with a home-made box zither than a HD. Most HDs occur further north, anyway, and the main outlines of her research square pretty well with Ralph's theory that the Appalachian dulcimer developed from Pennsylvania-German antecedants in southwest Virginia during or slightly before the 1830s.

What interested me the most about Burnette-Dean's study was that she found a couple of German-American extended families that apparently handed dulcimers down from generation to generation, which reminds me of families like the Hicks', Presnells and Glenns in North Carolina and the Meltons around Galax. I think that's probably typical of what we know in other areas, i.e. only a very few people played dulcimers before the handicraft revival of the 1920s and 1930s, and they tended to cluster in family groups living in what Burnette-Dean calls "dulcimer pockets" in Virginia, Kentucky, West Virginia and North Carolina (by way of West Virginia). There's another "pocket" in Middle Tennessee, where the "Tennessee music boxes" were made, but I think it's considered to be an outlier that didn't develop a living musical tradition. Basically we're left with a very local tradition around Galax and another tradition in Kentucky that became commercially successful because a nearby settlement school provided a ready market and national publicity. ...

Here's a link to Kimberly Burnette-Dean's blog post on dulcimers, which in turn has the link to a PDF copy of her study.

http://thewheelanddistaff.blogspot.com/2011/08/mountain-dulcimer.html

There's something else that keeps troubling me every time I get into this question of origins, and it may explain why some of the people you've spoken with are leery of mountain dulcimers: There's been a tendency over the years to over-sell the MD as an iconic representation of Appalachian culture. Allen H. Eaton, for example, in _Handicrafts of the Southern Highlands_ (1937. New York: Dover, 1973), says, "In many instances the instruments were made by the singers themselves, the one most frequently used to accompany the singer being the dulcimer, or, as it is called, the 'dulcimore,' indigenous to and still made in many parts of the Highlands" (198).

Except where the settlement schools or handicraft revival outlets like those around Asheville created a ready market for dulcimers, however, that simply was not the case. I think David E. Whisnant of UNC-Chapel Hill has the best discussion in _All That is Native and Fine: The Politics of Culture in an American Region_ (Chapel Hill: UNC Press, 1983) of how the dulcimer evolved as part of what he calls a "settlement school/Berea College/folk school/Southern Highland Handicraft Guild version of 'authentic' mountain culture' along with designer pottery, contradancing and 'Jean Ritchie ballads'" (169). Nothing wrong with any of that, but it's something I try to keep in mind when I'm playing the dulcimer in a living history context or one of the talks I give on 19th-century music. The dulcimer helps me get into the music of the period, but I don't try to pass off what I'm doing with it as a historically informed performance.

But now I'm straying off topic, and thinking aloud about what I want to say in that DPN article. No reason to subject you to that!

LATER: I'd only add that the settlement school/Southern Highlanders version of Appalachian culture is pretty much what I grew up with in Norris and got fascinated with as a grad student at UT. I think Whisnant is entirely correct when he says it only goes back to the early 1900s (in spite of what strikes me as an all-too-often ill-concealed snotty tone in his writing), but however Appalachian crafts made their way to wider markets, they have become an vibrant part of the cultural scene down home today.