tag:blogger.com,1999:blog-50033007376852979212024-03-14T05:14:31.222+00:00Swedish Traditional Music in LondonSwedish and Scandinavian music in London and beyond by
clarinettist and melodeon player Esbjörn Wettermark.Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-5003300737685297921.post-83180990280283273192019-10-09T10:25:00.000+01:002016-11-03T12:10:39.054+00:00Esbjörn Wettermark<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-oXsDqO3S5d4/VheDelkDxtI/AAAAAAAAAlI/VxUMwLuRnXA/s1600/EsbjornPhotoTomPaley.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://3.bp.blogspot.com/-oXsDqO3S5d4/VheDelkDxtI/AAAAAAAAAlI/VxUMwLuRnXA/s640/EsbjornPhotoTomPaley.jpg" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Tom Paley</td></tr>
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I play. The clarinet. The melodeon. Flutes. Mostly. Scandinavian dance music. Polskas. Waltz. Polka. Herding tunes.
I learnt. Kitchens. Dance floors. Others.
I studied. Malung. Malmö Academy of Music. University of London.
I research. Publish. Music and theatre in Vietnam. Folk tunes from Hälsingland.
I teach. Children. Adults. Myself. University students.
I morris.
I engage. People. Sounds. Things.</div>
Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-53741362151648317572018-10-23T14:57:00.001+01:002020-10-16T09:59:00.236+01:00What is Scandinavian and Swedish traditional music?The Nordic countries, that is Sweden, Denmark, Norway and Finland, have a lot of shared history and culture. When I talk about Scandinavian traditional music it is this shared aspects of the music cultures which I alludes to. That is not to imply that there are not differences between them, but as it is possible to talk about 'Celtic' music as a general repertoire and style, I think it is possible to do the same with Scandinavia. My focus as a Swedish folk musician has been dance music, and to an extent herding tunes and folk songs. Although my main repertoire is Swedish, as most folk musicians in my generation, I have also played a lot of tunes from Norway, Denmark and Finland.<br />
If I would think about one thing which to some degree connects this 'Scandinavian' music, I would say that the prevalence of pieces in various forms of three beat meter (3/4), which is much rarer on the British Isles. Although this is less pronounced in Denmark with its more continental connections and in Finland where there is both a Swedish influence and an older Finnish music tradition, the three beat meter is a reoccurring element which I often have to work with when teaching Scandinavian music in the UK. At some point I will write a longer introduction to this area but if you are interested to learn more. I would recommend Dan Lundberg's <a href="http://old.visarkiv.se/online/swedish_folkmusic.htm" target="_blank">introduction to Swedish folk music</a> on the website of the Swedish Centre for Jazz and Folk Music Research.Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-12216382100917428922018-07-09T20:31:00.002+01:002018-07-09T20:31:54.422+01:00Bertil Westling – till minne
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<span lang="SV">För 15 år sen, 2003, ringde jag dig för första
gången. Jag hade precis börjat musikhögskolan och ett par år tidigare hade jag
börjat gräva efter låtar och visor från Enångerstrakten. Jag kommer inte ihåg
om jag först fick höra om dig från Arvid Westberg eller kanske din systerson
Kaj Berglund. Jag vet i alla fall att jag hört dig spela och sjunga på
visarkivets inspelningar – ”Birr birr karlarna kommer…” (med imponerade
grisimitationer) och valser i G -dur. Nu ligger arkivets inspelningar på nätet
och jag lyssnar igen. Jag kommer ihåg att när jag ringde dig den gången så satt
jag på sängkanten i min väldigt lilla lägenhet i Malmö. Det kändes lite
nervöst, du skulle säkert undra vad det var för en mysko typ på andra sidan
telefonledningen. Det blev ett kort samtal men du sa i alla fall att jag kunde
komma förbi när jag var hemma nästa gång. Det gjorde jag och jag tog med mig
min minidisc-spelare (den var modern då) och frågade om jag fick spela in några
låtar för att lära mig. Det gick bra. Nu hittar jag filerna på datorn och
lyssnar igen. Fink-Jannes vals kommer först på inspelningen, lite av en
signaturmelodi. Sen den andra Fink-Jannes valsen, den med lite konstig rytmik
som du brukade säga att du aldrig fick rätt fason på. Jag gillade nog den bäst
trots allt, men kommer inte ifrån att den låter bättre på fiol än klarinett. Så
kan det vara. Ett tjugotal låtar spelade du in till mig den gången, låtar efter
spelmän vars namn jag sett eller hört nämnas men aldrig vetat något om. Johan
Nordell, din egen far Bernard (vars initialer jag sett inristade i en stenhäll
vid mina föräldrars sommarstuga), och Johan Forsberg, han som Arvid alltid
pratade om men inte kom ihåg låtarna efter. Hem och öva. Tillbaka, varje
ledighet. Vi började spela dina egna kompositioner och du introducerade mig till
andra musiker och vissångare. Din syster Dagmar och Vänster Olle Olsson från
Galven. Kajs pärmar med låtar från Enånger som ni samlat ihop blev bibeln och
utökades med arkivbesök, fynd i uthus och flera intervjuer. Men det var
samspelet och umgänget med dig (och din fru Laina så klart) som var viktigast,
många koppar kaffe, massor av pannkaka (vegetarisk mat var ju knepigt men också
en bra ursäkt att äta pannkaka tyckte du). Trött på studierna tog jag ett år
ledigt och flyttade till Bollnäs, jobbade inom äldreomsorgen och spelade ännu
mer med dig. Dina ben började bli dåliga och hörseln hade det väl aldrig varit
mycket med men humorn och tankar kring låtar och musik det var det inga problem
med. Laina var alltid med, såg till att gubben faktiskt tog upp fiolen och inte
klagade på brist på övning, gjorde kaffe, fler pannkakor, lyssnade och fyllde i
när något missades. Vi hade väldigt trevligt tillsammans. </span></div>
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<span lang="SV">Ibland hände det att du frågade mig om låtarna
och spelmännen, det kändes konstigt. Jag var ju den som var där för att lära
mig. Men, så är det ju när man umgås och spelar, det blir ett givande och
tagande. Tillsammans finns kunskapen. Även om du med glimten i ögat brukade
säga att Enånger var världens centrum (därifrån är det ju lika långt kring
jorden och tillbaka till byn igen oavsett riktning), så var du alltid lite
obekväm med spelmän som var alltför lokalpatriotiska, viktigast var ju trots
allt att någon ville spela musiken och brydde sig. Men du sa ändå att du var
glad att jag, som visserligen kom från Iggesund, ville spela enångerslåtarna –
”det är ju din musik det här med”. Det kändes så, känns så fortfarande, min
musik, vår musik, musik som betytt mycket. </span></div>
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<span lang="SV">Musiken var nog alltid med dig. Du säger
visserligen på visarkivets inspelning från 60-talet att du inte lärt dig så
mycket egentligen, men nog var det en hel del du kunde? Inte bara låtar så
klart, men kärlek till musiken. Tänker ofta på din historia om hur du i din
ungdom plankat några klassiska lieder (Schubert?) från radion och under en dans
i Bäckmora suttit utanför danslokalen och lockat flickorna från dansgolvet.
Sant? Jag väljer att tro det. I dina egna kompositioner så var livet alltid
närvarande – Lainalle, Till Laina, tillägnad din finlandsfödda fru, Västnängspolskan,
till barndomshemmet, och Längbackesvalsen, en musikalisk reflektion över
baklängesspråket du och Kaj brukade använda. Även om du sällan var ute och
spelade på senare år så blev ändå två skivor med vännerna Karl-Erik Englund och
Ingvar Forsberg. Spelgänget Gråskallarna (även om namnet kanske inte alltid var
populärt hos alla medlemmar) kom också förbi och spelade. Kaj och din son Göran
var såklart trygga spelkamrater genom åren. Du såg dig nog inte som någon
storspelman men nog var du en musiker som flera ville spela med, lyssna till
och vars kompositioner många tycker om? Vi lärde känna varandra när du var 76
och jag var 22 år, men det kändes aldrig som det var över 50 år mellan oss, det
gick ju bra att spela. </span></div>
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<span lang="SV">Vi sågs mindre de sista
åren (jag bodde ju utomlands) men det blev ändå många spelstunder och vi stod till
och med på scen ett par gånger. På en konsert i Bönhuset på Delsbostämman och
ett par år senare i ett ostämt ögonblick i gassande sol (varken bra för
strängar eller klarinett) tillsammans med Göran på spelkullen. Fina minnen. Sist
vi sågs spelade vi inte, du hade visserligen återhämtat dig en del från hjärtinfarkten,
men det var svårt. Vi lyssnade på inspelningar (Fink Jannes gammeldansorkester
och några av de låtar jag spelat in 15 år tidigare), drack kaffe, pratade om
låtar, spelmän, och musik. Det var känslosamt. </span></div>
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<span lang="SV">Jag har svårt att sätta ord på hur viktig du har
varit för mig som spelman och människa. Skulle jag ha fortsatt forska, flyttat
utomlands för master- och doktorandstudier i musiketnologi, övat och spelat om
jag inte mötts av sådan uppmuntran och givmildhet när vi sågs de där första
gångerna? Jag ville lära mig några nya låtar men jag fick betydligt mer,
vänner, berättelser, fika, pannkakor, en sorts tillhörighet. På något sätt så
var det under åren vi spelade och lärde känna varandra som jag blev spelman,
inte bara klarinettist eller musiker. </span></div>
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<span lang="SV">Tack Bertil, för
musiken, stunderna, och skratten.</span></div>
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</style>Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-32581284381241089492016-12-02T12:39:00.001+00:002016-12-02T12:39:04.978+00:00Polkas
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<span lang="EN-GB">This week I taught you three tunes from
Denmark, Finland and Estonia. The common denominator was that they all were
different kinds of polka, or at least 2/4 polka-like tunes. Although there are
lots of different types of dance tunes played in these countries, the polka has
definitely been very popular in both Denmark and Finland. For those of you who
want to here some more music from these areas I am putting together a play list
on spotify, which I will add below in the coming days.</span></div>
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<span lang="EN-GB">The first tune we did was ‘Jysk Fynsk’
,<span style="mso-spacerun: yes;"> </span>a local name for Rheinlænder-polka,
from a recording with fiddler Levy Vilsen from <a href="https://en.wikipedia.org/wiki/L%C3%A6s%C3%B8" target="_blank">Læsø</a>, Denmark.
The second one was a polka recorded by the influential Finnish folk group
Kankaan Pelimannit, I don’t know much about the tune other than it was called Stövelpolka (Boot-polka) on a
Swedish issue of their 1977 LP ‘<a href="https://youtu.be/LDxrDcc6Iyc?t=10m12s" target="_blank">Kangas Spelmän’</a> .
The last short little tune was a Swedish-Estonian polka-like ‘laik’ (tune) from
the bowed harp (<a href="https://www.youtube.com/watch?v=Ss8Sp4Pp5mQ" target="_blank">talharpa</a>) player
<a href="https://br.pinterest.com/pin/313844667753615540/" target="_blank">Hans Renqvist</a> from Ormsö in Estonia. </span></div>
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<span lang="EN-GB">Stövelpolka</span></div>
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<span lang="EN-GB">Laik</span></div>
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Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-11191395192138526892016-11-24T15:21:00.001+00:002016-11-24T16:15:35.216+00:00Polska efter C. H. ErlandssonThis week we did an asymmetrical polska with a short first/or long second beat. There are tunes played in this way in several places around Sweden (and Norway) but nowadays it is primarily associated with the western parts of Sweden. This tune, however, was collected from the fiddler Carl Herman Erlandsson in Uppland just north west of Stockholm. I taught you the tune in a style similar to how many musicians play this tune today, the original <a href="http://fmk.musikverket.se/browselarge.php?lang=sw&katalogid=Up+4&bildnr=00013" target="_blank">transcript</a> however is somewhat different. <br />
Erlandsson (1857-1936) was from a Swedish traveller family and although he eventually settled in Uppland many of his tunes was in a style more commonly associated with the province of Dalarna. As a young man he was sentenced to eight years of hard labour for manslaughter and it was not until later in life that he became recognised as a fiddler.<br />
As you will see on the sheet music it is not easy to notate these kinds of polskas in a way which makes it easy to read, and there is always a risk that it becomes more confusing! If you want some initial help to get into the rhythm you can try this '<a href="http://www.jigfoot.com/hatworshipblog/metro_enc.html" target="_blank">polska metronom</a>e' which Tom found online (thanks Tom!). However use it carefully, it may be a good tool to get reminded about the short first beat but don't use it as foundation when you play the tune. You can also listen to Lena Jonsson and Brittany Haas' version of the tune (see video link below, or listen to the whole album <a href="https://open.spotify.com/album/5E1bjcC4yo2pflrvWu2eMu" target="_blank">here</a>). In the sheet music I have given suggestions on how to render the chords on a fiddle/melody instrument, but put on the recording and try things out yourself, you might well come up with something else which sounds great!<br />
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Lena and Brittany playing their arrangement of the polska together with an American old-time tune.</div>
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Slower version on the melodeon</div>
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Tune with arrangement</div>
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Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-12079379588103197602016-11-17T14:23:00.001+00:002016-11-17T14:23:08.603+00:00Scandi Course 16th of NovemberAnother three tunes from Hälsingland this week, schottis, polkett and polska. The schottis I learned from Bertil Westling, who also taught me last weeks waltz. He got if from Holger Sjödin in Enånger, and it is fairly well known tune Holger was not much of a musician himself but played some of his father's Kalle Sjödin (1866-1938) repertoire. The polkett, another word for polka, I got from Olle Ollson, know as Vänster ('left') Olle as he played his fiddle on the 'wrong' side. Olle's father Olles Jonke was an important link to the older fiddle traditions in southern Hälsingland and in the late 1970s and early 1980s a number of younger fiddlers learnt tunes from him. <a href="https://www.youtube.com/watch?v=1bHaFmEEUFc" target="_blank">Ulf Störling</a> is one of the fiddlers who play a lot of Olles Jonke's tunes today. The last tune is from the famous fiddler Erik Ljung from Delsbo. Erik Ljung's tunes were collected in the early 20th century and included in the big collection of Swedish dance music known as Svenska Låtar. The original transcripts can be seen online <a href="http://fmk.musikverket.se/browselarge.php?lang=en&katalogid=Hs+17&bildnr=00017" target="_blank">here</a>.<br />
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Schottis after Holger Sjödin</div>
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Polkett after Olle Olsson</div>
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Polska efter Erik Ljung</div>
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<br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-43627691158663477862016-11-14T12:07:00.001+00:002016-11-14T12:08:18.673+00:00Scandi Course 8th of NovemberLast week we learnt two tunes from <a href="https://en.wikipedia.org/wiki/H%C3%A4lsingland" target="_blank">Hälsingland</a>. The first one was a waltz I learned from fiddler Bertil Westling, who has been one of my most important influences in learning folk music. It's a tune he learnt from his father Bernard and there are a number of version of it played in different parts of Sweden. You can see Bertil play it together with his son Göran <a href="https://www.youtube.com/watch?v=iREPECCnOMA" target="_blank">here</a>, and look at another transcript with bowing details <a href="https://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=9&cad=rja&uact=8&ved=0ahUKEwiHn46ilajQAhXoLMAKHX9BApoQFghIMAg&url=http%3A%2F%2Fwww.vsg.se%2FTextramfiler%2FLatarkiv%2FArkivnoter%2FBernard%2520Westlings%2520vals.pdf&usg=AFQjCNG-CRxqZc3pVDR4MulohJkOh5Kc7g&sig2=XLlV6NZLKzk3XarRBCY0-g&bvm=bv.138493631,d.ZGg" target="_blank">here </a>(will take you to a pdf). The second tune was a polska composed by Eiwor Kjellberg from <a href="https://en.wikipedia.org/wiki/J%C3%A4rvs%C3%B6" target="_blank">Järvsö</a>. With its arpeggio figures in the B-part this polska is in a style very closely associated with Hälsingland. These polskas are especially connected with the Hälsingland fiddler Jon Erik Öst who travelled around the country in the first part of the 20th century performing a style of virtuoso polska that soon became very popular among fiddlers. Here is an example of one of Jon Erik's compositions called <a href="https://www.youtube.com/watch?v=Jwx3WnAL004" target="_blank">Skansenpolskan</a>. His son Eric was also a very good fiddler who played both older and more modern dance music. He used to be a regular on entertainment shows on <a href="https://www.youtube.com/watch?v=5RCB-g2Dyl0" target="_blank">television and radio</a>. Here is a recording of Eiwor playing her <a href="https://www.youtube.com/watch?v=Z8yCiy99WcM" target="_blank">Polska i Moll</a>, I've added a variation to the melody which may work better on if you don't play the violin.<br />
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Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-39176246575133991102016-11-03T11:03:00.001+00:002017-01-13T16:46:46.957+00:00The Autumn's first scandi course session with the Trad Academy<style>
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<span lang="EN-GB">A great first session with the autumn
scandi music course at 14 Bacon street, I really enjoyed the evening! The two
tunes we did were both collected in Härjedalen and in a style connected with
western Sweden and the borders to Norway. The first was a halling from the
fiddler Christoffer Tholson (1864-1945) and the second a triplet-based polska
from another fiddler, Olof Löfgren (1865-?). This polska is often called Djävulspolskan,
the devil’s polska, and my version of it is mostly influenced by a recording on
the album <a href="http://www.drone.se/cd.php?cd=DROCD008&lang=eng" target="_blank">Härjedalspipan</a> (you can see the original and slightly different
transcript <a href="http://fmk.musikverket.se/browselarge.php?lang=sw&katalogid=Hr+2&bildnr=00014" target="_blank">here</a>). Below is my arrangement of the polska and the halling
tune. Recordings of both will be up soon.</span>
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<span lang="EN-GB">If you want to listen to some more tunes in
this style I can recommend groups and musicians such as Hoven Droven,
Kjell-Erik Eriksson, Lasse Sörlin, and also records by Pettersson och
Fredriksson, and Ulrika Bodén. You’ll find some of this on Spotify and YouTube.</span></div>
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<span lang="EN-GB">Looking forward to next week when we’ll
play some tunes from Hälsingland.</span></div>
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Halling</div>
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Polska</div>
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Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-62073377498938419712016-04-17T13:32:00.001+01:002016-04-17T13:32:21.242+01:00Last Scandi course session for this term.It's been a really good course this term, a lovely mix of musicians and a lot of tunes!<br />
The last piece we did was this polska from <a href="http://www.karinwallin.se/13.html" target="_blank">Karin Wallin</a> and next weekend those who can will come to the museum of childhood to perform last weeks Engelska tunes with the Trad Academy's other courses.<br />
Here is the Leipzig polska:<br />
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and the dots:<br />
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I am aware that some of you found it difficult to access the notation on this page and I will look into that as soon as possible.Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-6528144275671232016-04-12T09:27:00.000+01:002016-04-12T09:27:01.313+01:00Fifth Scandi course session - EngelskaLast week we did a long Engelska set and here are the dots and recordings. I am aware that especially the Amajor tune was a bit tricky on melodeon (although its is not as tricky as it might seem!) and maybe a few other instruments too. Therefore I have added a melodeon/other instruments edit of the tune too. We're back to the polskas this week although we'll also run through the Engelska's again. Hope to see you there for our last session of this term and don't forget that there is a performance opportunity with the group on St Georges Day, Saturday the 23rd of April where the plan is to play and dance Engelska together with other groups from the Trad Academy!<br />
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And then the anti-accidental/low notes version (just endings and A part, everything else the same as above):<br />
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<br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-5525255333112242252016-03-16T14:10:00.003+00:002016-03-16T14:11:42.966+00:00More tunesAfter today's session (16th March) The Scandinavian folk music course will have a two-week break over Easter and we start again with the two last sessions on the 6th and 13th of April. If you get tired of the tunes we have done this far and want more tunes to practice during the break have a look at the polskas we did in the autumn 2015 polska course you can find them here:<br />
<a href="http://esbjornwettermark.blogspot.co.uk/2015/11/first-session-with-trad-academys.html" target="_blank">First session</a><br />
<a href="http://esbjornwettermark.blogspot.co.uk/2015/11/the-scandinavian-music-course-2nd.html" target="_blank">Second session </a><br />
<a href="http://esbjornwettermark.blogspot.co.uk/2015/11/third-scandinavian-music-course-session.html" target="_blank">Third session</a><br />
<a href="http://esbjornwettermark.blogspot.co.uk/2015/12/the-fourth-and-last-session-of-this.html" target="_blank">Fourth session</a><br />
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Good luck with the tunes and see you again in April.Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-30306362372112859312016-03-15T15:52:00.001+00:002016-03-16T22:35:15.874+00:00Scandi music course session 4<div class="separator" style="clear: both; text-align: center;">
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Kruspolskan from Styrbjörn Bergelt, Hedningarna etc.<br />
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Polska from Anders Petter Dufva's 1807 tune manuscript<br />
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Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-29932512301764033742016-03-14T16:43:00.002+00:002016-03-16T14:02:47.035+00:00Scandi session three<div class="separator" style="clear: both; text-align: center;">
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Kofyr... Halling<br />
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Kofyr... halling with melodeon fingerings<br />
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Bass line / counter melody<br />
Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-35512074612838470012016-03-05T10:48:00.001+00:002016-03-16T13:36:36.189+00:00Scandi music course session two<div class="separator" style="clear: both; text-align: center;">
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<br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-69212724992516441562016-02-26T14:35:00.001+00:002016-03-05T10:26:01.588+00:00Scandi music session, 27 February 2016It was a really good first session this week with a great range of instruments. We did two waltzes, Silkesvalsen in A dorian/minor after <a href="https://www.youtube.com/watch?v=Frm0AyGJf38" target="_blank">Evert Åhs</a> from <a href="https://en.wikipedia.org/wiki/%C3%84lvdalen_Municipality" target="_blank">Älvdalen</a>, and a D major waltz from <a href="https://en.wikipedia.org/wiki/Sm%C3%A5land" target="_blank">Småland</a> with the rather awkward name 'Flickornas dans på kyrkogården', [the girls' dance in the church yard]. I have added the dots and videos below. <br />
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<br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-70994967142957218792016-02-11T12:40:00.002+00:002016-02-11T12:41:08.699+00:00Pictures and video from a performance at the ArtsCafe in Manor Park, Lewisham<div class="separator" style="clear: both; text-align: center;">
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A video of me playing a polska from Galven, recorded at my recent <a href="http://esbjornwettermark.blogspot.co.uk/2016/01/performance-in-lewishams-manor-park-on.html" target="_blank">Linear Obsessional Live performance</a>.</div>
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Doing some melodeoning </div>
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Me and 'Mr. Linear Obsessional' himself, Richard Sanderson doing some free improvisation on two melodeons.</div>
Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-91420515175185522402016-02-11T12:29:00.000+00:002016-02-11T12:29:01.977+00:00Scandinavian Music Course<div class="separator" style="clear: both; text-align: center;">
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It's time again for a new Scandinavian music course with the Trad Academy!
This time it will be a full 6 sessions starting on the 24th of February
until the 13th of April, with a two week break over Easter (23rd and
30th of March) as people might be away over the holiday. As last time we
will be in the lovely café at <a href="https://www.facebook.com/no14baconst/" target="_blank">14 Bacon street</a>
(E1 6LF), just off Brick Lane, and next to Shoreditch High Street
Overground Station. It is also just a 10 min walk from Liverpool Street
Station and 15 min walk from Old Street Underground Station.<br />
In
the 4 week autumn course I focused on different kinds of polskas in
particular, but this time the course will have a wider scope, and we'll
look at different kinds of tunes, as well as, style, harmonies, rhythms,
dances steps, lyrics and arrangements. The whole package that is, and
it's yours for a mere £45 (contact the Trad Academy for concession
rates)! To sign up, send an email to Ed at the <a href="mailto:thetradacademy@gmail.com" target="_blank">Trad Academy</a>, and check out their <a href="http://tradacademy.co.uk/whatson/" target="_blank">website</a>, or contact me, for more information.<br />
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<tr><td class="tr-caption" style="text-align: center;">Esbjörn Wettermark 2016</td></tr>
</tbody></table>
Note: The fiddlers on the flyer are Mårten Andersson (1845-1929) from Ljusdal, and Erik Ljung(1851-1928) from Delsbo.<br />
<span id="goog_1622683706"></span><span id="goog_1622683707"></span><br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-863276270095271742016-01-24T11:21:00.002+00:002016-01-24T11:22:09.309+00:00Performance in Lewisham's Manor Park on the 31st of JanuaryA week from now I will be performing at Richard Sanderson's Linear Obsessional Live event at the <a href="http://www.lewishamartscafe.uk/" target="_blank">ArtsCafe</a> in Manor Park in Lewisham. Looks like an interesting afternoon with a range of improvisational in addition to my own contribution. I've also promised to do a free improvisation set with Richard (possibly one of the UK's top/only free-impro melodeonist...), so that will be something to look forward to!<br />
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This is Richard's text about the event (the whole thing can be rear <a href="https://www.facebook.com/events/1722911917994507/" target="_blank">here</a>):<br />
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<span class="fsl">'A concert of extraordinary live music, in a lovely
cosy cafe in a park in Lewisham, brought to you by Hither Green based
label "Linear Obsessional Recordings"<br /> Featuring <br /> Barrel (Alison
Blunt - Violin, Ivor Kallin - Viola, Hannah Marshall - Cello)
Improvising string trio featuring 3 top-notch London improvisers.
Barrel's music could almost make you believe in telepathy- the music is
sparky, witty, complex and hugely enjoyable.<br /> Kathy Hulme -
off-centre songs and poetry from one half of "skrewball folk" duo
C-siders. Kathy's work is always refeshingly original and peculiarly
affecting.<br /> Esbjorn Wettermark - Spectacularly talented Swedish folk
musician will play a solo set of traditional tunes on clarinet and
melodeon.<br /> <br /> Food, soft drinks, coffees and teas available. You
are welcome to bring a bottle! I dare say we'll all goto the pub
afterwards too....'</span><br />
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<span class="fsl">And its free!</span><br />
Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-81437068203826623032015-12-03T13:01:00.002+00:002016-03-16T13:40:14.109+00:00The fourth and last session of this years Scandi music courseA great ending to the course last night! We did a bridal polska from the repertoire of the fiddler 'Olles Jonke' Jonas Olsson from tiny village Galven in the province <a href="https://en.wikipedia.org/wiki/H%C3%A4lsingland" target="_blank">Hälsingland</a>. I learnt the tune from Olles Jonkes son Olle, or 'Vänster (left) Olle' as he sometimes was referred to as he played his violin with his left hand. It's a three part tune, and the story goes that it was devised by a fiddler to allow the bride to dance one part each with the vicar, her father and her new husband. Traditionally there used to be one separate polska for each dance but in this case the bride was heavily pregnant and couldn't cope with three separate polskas. I wouldn't necessarily claim that the story is true but I like it anyway.<br />
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below is also an impromptu recording of myself playing the tune.<br />
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I didn't find any recordings of the tune on YouTube but it was recorded by the fiddler Ulf Störling on the LP, 'I polsketagen' in the 1980s. Ulf learnt the tune from Olles Jonke when he was documenting older musicians in the southern areas of Hälsingland, today Ulf is, according to me, one of the best performers of this repertoire. I have attached a YouTube playlist with Ulf in different constellations below.<br />
The music I played after the session was from two albums by <a href="https://play.spotify.com/track/4ZYi04nOhfoHwKX1VizUUv" target="_blank">Draupner</a> a trio focusing on music from Hälsingland, well worth a listen! At the very end I also put on some recordings of Swedish bagpipe with <a href="https://en.wikipedia.org/wiki/Anders_Norudde" target="_blank">Anders Norudde</a>, who is most famous for his band <a href="https://www.youtube.com/watch?v=aTW3ZbizYKQ" target="_blank">Hedningarna</a> but he is also great solo musician and luthier. I would also recommend the classic album '<a href="https://en.wikipedia.org/wiki/Anders_Norudde" target="_blank">Tunes from Hälsingland'</a>, first released in 1968 but now available on spotify, a bit aged maybe, but some great tunes!<br />
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Ulf Störling play list:<br />
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Here is another play list with some other influential musicians from the area, especially Gällsbo Emil Olsson.<br />
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<br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-26703148992695697922015-11-30T13:30:00.002+00:002015-12-03T12:18:51.351+00:00Third Scandinavian music course sessionAnother great session with yet another kind of polska, this time a Norwegian variety. A 'polsdans' from the border area between Sweden and Norway. These dance tunes with a short third beat are generally referred to simply as 'finnskogspols' to separate them from other kinds of polska rhythms.<br />
In the session I called the tune Black Marits, but it turned out to be a typo on my computer... it is supposed to by Back-Marits.<br />
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First here is my own recording of the tune with melody and the two different harmonies we did. The second harmony can be played together with the first one for a three part arrangement. <br />
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Here is the dots for the arrangement but as I have said before play with the recording first of all!<br />
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I found two slightly different versions of the tune on YouTube, the first one is played by the Norwegian melodeon player Ingunn Bjørgo, and the second one a version played by Atle Lien Jenssen and Olav Sæta is from the album '24 polsdanser frå Finnskogen', a CD which I played for you after the session (the whole album is actually available on YouTube).<br />
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Atle Lien Jenssen and Olav Sæta <br />
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Ingunn Bjørgo<br />
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And if you are interested in hearing some older field recordings from this area, I recommend the album "Puken i Kjerketårnet" (also available on YouTube)<br />
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<br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-40126658414442995142015-11-20T09:47:00.002+00:002015-11-20T09:47:27.247+00:00The Scandinavian music course, 2nd session
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<span lang="EN-GB">Thanks for another good session last night,
I thought it sounded really good at the end!</span></div>
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<span lang="EN-GB">The tune we did was a polska after Elias
Larsson, from <a href="https://en.wikipedia.org/wiki/V%C3%A4sterg%C3%B6tland" target="_blank">Västergötland</a> in Southwestern Sweden. I have recorded the various
parts below and added an extra <span style="mso-spacerun: yes;"></span>YouTube
video with the group Crane Dance Trio (Jonas Simonsson (flute), Mats Eden
(fiddle) and Mattias Perez (guitar)) playing their arrangement of the same
polska. </span></div>
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<span lang="EN-GB">If you want to look at the dots for the
music arrangement you can see them below but remember to listen and play with
the recording as well. If you want to go back to basics you can have a look at
the original transcription of the tune in the collections of the Swedish folk
music commission <a href="http://fmk.musikverket.se/browselarge.php?lang=sw&katalogid=Ds+7&bildnr=00042" target="_blank">here</a>.</span></div>
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<a href="http://1.bp.blogspot.com/-Kg2iIOHMDsQ/Vk7qmNH7RHI/AAAAAAAAAnA/UwVCo9TDng0/s1600/PolskaElias_Larsson%252C_Seglora%252C_Vaestergoetland%252C_Sweden-1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-Kg2iIOHMDsQ/Vk7qmNH7RHI/AAAAAAAAAnA/UwVCo9TDng0/s320/PolskaElias_Larsson%252C_Seglora%252C_Vaestergoetland%252C_Sweden-1.png" width="247" /></a></div>
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<span lang="EN-GB">Some of the CDs I played before and after
the course, was Crane Dance Trio, <a href="http://www.drone.se/cd.php?cd=DROCD008" target="_blank">Härjedalspipan</a>, and the Norwegian group <a href="https://myspace.com/runddans" target="_blank">Hått</a>.</span></div>
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<span lang="EN-GB">See you next week!</span></div>
Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-87389317425123244912015-11-12T11:21:00.001+00:002015-11-12T11:21:15.811+00:00First session with the Trad Academy's Scandinavian Music CourseYesterday was the first of four sessions for the <a href="http://tradacademy.co.uk/course/scandinavian-folk-music-november-2015/" target="_blank">Scandinavian music course</a>. We met at a lovely new venue, the Vintage Emporium on Bacon street and were taken very good care of by Jess who served drinks as well as played the fiddle. Below are the two slängpolskas we played during the session, both from the island of <a href="https://en.wikipedia.org/wiki/Gotland" target="_blank">Gotland</a>, 'Gamble Mörti' and Vevlirepolskan (although we only started on the second one). I have also added a few links to other recordings of the tunes.<br />
The music we listened to after the session was played by <a href="http://www.sjelvar.com/english/gunnfjauns.html" target="_blank">Gunnfjaun's Kapell</a>, <a href="http://www.jidder.nu/" target="_blank">Jidder</a>, 'Löfberg, Björnlert, Pekkari' and <a href="https://myspace.com/luftstrak" target="_blank">Luftstråk</a>. <br />
<br />The polskas: <br />
Gamble Mörti was first recorded by the singer Karl Lithberg for the Swedish Radio in 1956, but I learnt it from a CD with Gunnfjaun's Kapell, a influential folk group focusing on the music of Gotland. Gunnfjaun's also recorded vevlirepolskan, which has become a popular tune on the Swedish folk scene.<br />
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Gamble Mörti twice through slowly:<br />
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Harmony part (slightly different from the session version, sorry!):<br />
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Vevlirepolskan, only melody slowly:<br />
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Karl Lithberg singing Gamble Mörti:<br />
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Gunnfjaun's Kapell playing the same tune (at 3.15) in a set of short polskas: <br />
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Same group playing vevlirepolskan:<br />
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<br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-86870808866148852192015-10-23T14:38:00.000+01:002015-10-23T14:38:26.372+01:00CV<style>
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<span style="font-size: small;">At the present, I am a PhD candidate in ethnomusicology at Royal Holloway,
University of London, while also working as a freelance musician and music
educator. Below is a selection of my qualifications, education, publications
and work experience. <b> </b></span><br />
<br />
<span style="font-size: small;"><b>For a full CV please contact me via the contact form to
the left of the page</b>.</span><br />
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><u><span style="font-size: small;"><b>Work</b></span></u><br />
<span style="font-size: small;">
</span><span style="font-size: small;">Since 2011 I have been a returning tutor for the English Folk Dance and Song
Society, especially their youth folk music project, <a href="http://www.cecilsharphouse.org/csh-learning/youth/get-your-folk-on">Get
Your Folk On!</a>. I am also teaching the folk music ensemble at the Centre for
Young Musicians in Lambeth together with <a href="http://www.lauravictoriamusic.com/index.php">Laura Hewison</a>, and have
been involved in various other shorter projects with both EFDSS and CYM. I
have also taught general instrument skills to beginners as well as more
experienced students. Before my beginning my doctoral studies at Royal Holloway
I also taught clarinet for Newham Council's Every Child a Musician project, as
well as teaching private students on melodeon and clarinet. Before moving to
London in 2009, I regularly taught music in both primary schools and music
services. During 2015 I have been a visiting lecturer and teaching assistant at
the Royal Holloway department teaching parts of the Introduction to World Music
course. At the moment I am also working with the <a href="http://tradacademy.co.uk/">Trad Academy</a> to do a number workshops focusing
on Scandinavian music.</span><br />
<span style="font-size: small;">
</span><span style="font-size: small;">As a musician I have been performing at folk festivals in Sweden both as a
dance musician and on stage. I have also performed at weddings, funerals, and
other ceremonies and events. Since moving to London I have primarily been
teaching, but also performed at open-stage events at various folk clubs. I have
played as a supporting act to Brass Monkey at the Goose is Out folk club in
Nunhead, and played Swedish music at various events. Until 2009 I regularly
played with the Swedish-Vietnamese group [Ojzaioj] performing in both Vietnam
and Sweden. </span><br />
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><u><span style="font-size: small;"><b>Education</b></span></u><br />
<span style="font-size: small;">
</span><span style="font-size: small;">I hold a Swedish Teachers Degree in Music (Master of Education) from the
Malmö Academy of Music, University of Lund (2009), as well as a Master's degree
in Ethnomusicology from Goldsmiths, University of London (2010). Prior to my
university studies I did a one-year long course in traditional singing at the
Malung Folk High School (2002). In addition to full-length degrees, I have also
studied, contemporary philosophy (Södertörn University, 2012) and Medieval
History (University of Gävle, 2006). Since 2012 I am a PhD candidate at Royal
Holloway, University of London.</span><br />
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><span style="font-size: small;"><u><b>Publications</b></u> </span><br />
<span style="font-size: small;">
</span><span style="font-size: small;">2008,<b> “<a href="http://libris.kb.se/bib/10971876?vw=short&tab3=full">Tunes from
Enånger, Njutånger and Nianfors</a>”</b>. (Self published, copies and PDF's can
be bought from me)</span><br />
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">2010, <b>“Thang Long Ca tru Club -
New Ways for Old Music”. (</b>Peer-reviewed article in the “Finnish Journal for
Music Education”, vol.13, nr 1, 2010.)</span><br />
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">2012, <b>“</b><b>A meeting in Ninh Binh:
reflections on Buber and the ethnographic meeting point”. (</b>Book
chapter in ‘If
I were a Drongo bird: Reflections on yearning, imagination and creativity - a
tribute to Håkan Lundström’ (Lund University Press; Berry, ed.))</span><br />
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">2015(tbc), <b>“Ca trù: the Revival and
Repositioning of a Vietnamese Music Tradition”. (</b>Peer-reviewed chapter in
the edited volume ‘Sustainable Futures for Music Cultures: an Ecological
Perspective’ (Oxford University Press, Schippers & Grant, eds.),
co-authored with Prof. Hakan Lundstrom.)</span><br />
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><u><span style="font-size: small;"><b>Awards</b></span></u><br />
<span style="font-size: small;">
</span><span style="font-size: small;">In 2005 I was awarded the title Riksspelman [National folk musician] for my
performance of traditional music from the province of Hälsingland.</span><br />
<span style="font-size: small;">
</span><br />
<br />
<br />
<br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-57767608080974262062015-10-15T17:06:00.002+01:002015-10-15T17:07:12.595+01:00A melodeon polska<div style="text-align: justify;">
I learnt this tune many years ago, but it suddenly popped up again when I was sitting at home playing some tunes a few days ago. Its a sweet little polska from the fiddler Per Westberg's (1886-1975) handwritten music manuscripts. Per's son Arvid Westberg (1918-2013) let me copy his father's tune collection and I often used to play pieces from Per's repertoire when I when went to Arvid's house. If I remember correctly this particular tune, which can be found in many version around Sweden, was dated 1911. When I was little we used to sing one version in school while dancing around the Christmas tree; "Morsgrisar är vi allihopa, allihopa, allihopa...." </div>
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<br />Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0tag:blogger.com,1999:blog-5003300737685297921.post-3532966010345557812015-10-15T16:45:00.001+01:002015-10-15T16:45:23.986+01:00Swedish folk music lecture at Royal Holloway
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<span lang="EN-GB">At the moment I am preparing a lecture on
Swedish folk music revival, tradition and heritage, for the undergraduate
course in World Music at Royal Holloway, University of London. </span></div>
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<span lang="EN-GB">The idea is that throughout the course the
students should meet different musics around the world, beyond the genres and
styles which they may already be familiar with, in addition to getting an
understanding of key concepts in ethnomusicology and music research.</span></div>
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<span lang="EN-GB">It will be interesting to see how the
students react to the various takes on three</span><span style="mso-ansi-language: EN-US;">-</span><span lang="EN-GB">beat rhythm in Scandinavian dance music, but
also I hope to get them to critically engage with ambivalent concepts such as
tradition and heritage in relation to music.</span></div>
<div class="MsoNormal">
<span lang="EN-GB">I am planning to use my own work as a
musician as the subject for the lecture to, in a way, give a face to the real
musicians who often hides behind ethnographic descriptions in journals and
books.<span style="mso-spacerun: yes;"> </span>As such it will be a kind of
autoethnographic account on Swedish traditional music; which I think will be
interesting for me as well as the students.</span></div>
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<span lang="EN-GB">The main reading will be an article by Owe
Ronström on <a href="http://owe.ompom.se/texter/" target="_blank">Swedish fiddle music, tradition and heritage,</a> and the additional reading
is David Kaminsky’s <a href="http://www.tandfonline.com/doi/abs/10.1080/17411912.2011.587244?journalCode=remf20" target="_blank">article</a> on dancing, gender and eroticism.<span style="mso-spacerun: yes;"> </span>It is difficult to find English language academic
writings on Swedish traditional music, but I think Ronström’s and Kaminsky’s
very different texts will provide some interesting discussion in the seminars
after the lecture. In general I find it easier to engage groups if they get to
do something else in addition to listing so there will definitely be some student
participation in the lecture, maybe singing or dancing, and some live music on
clarinet and melodeon from me.</span></div>
Esbjorn Wettermarkhttp://www.blogger.com/profile/07799634009444002925noreply@blogger.com0