Wednesday, 10 May 2017

Little Kerstin the Stable Boy

This is a classic cross-dressing ballad, and one of a number of Scandinavian ballads that have this as a central plot point. In this ballad, Little Kerstin is able to get what she wants by dressing up as a man. But ballads about men dressing as women are also found. Valivan is a good example of this. And of course Thor dresses as a woman to get back his stolen hammer in the ballad The Hammer Hunt (Hammarhämtningen / Torvisan).

by John Bauer



Plot


In the beginning, we hear that Little Kerstin is having men's clothes made for herself. She rides away from home and to a king, and she asks whether she can work in his stables. The king tells her that he does need a stable boy, but that he doesn't have room for a stable boy's horse. But the young prince persuades his father that he ought to give this stable boy a job, and that the horse could be kept alongside his own.

We hear how Little Kerstin is working as a stable boy with the horses during the day, leading them out to the fields and the meadows, and how by night she and the prince are getting to know each other better. It soon becomes apparent that the stable boy is growing heavier and less agile. Little Kerstin is pregnant, and she gives birth to twin boys.

When the king hears about this, he is furious. But the prince begs for forgiveness, and his father relents, and insists that his son should marry Little Kerstin at once. And so she ends up as a grand lady with many other women serving her.

That is one possible ending. But there are also other variants of this ballad with slightly different endings, some more tragic. In one, the king is happy to get a grandson because in that variant Little Kerstin was revealed to be the daughter of another king. In another, the king lets his anger subside, but before they can marry, a false maid poisons Little Kerstin and she dies. The king then has the false maid buried alive.

Here is a full text of the ballad from Geijer and Afzelius.


Melodies


Here are three Swedish melodies for the ballad:

(1) Liten Kerstin Stalldräng (Ahlström No. 187), from Västergötland.

(2) Liten Kerstin Stalldräng (Södermanlands Fornminnesförening No. 4), from Södermanland.

(3) Stolts Botelid Stalldräng (Ahlström No. 138), from Värmland.

The first two of these (1 and 2) use the same omkväde lines, though the melodies are very different. These translate as something like: Oh dear one / In our stable she served in secret. The recording below also uses the same omkväde, though the melody does not seem to be similar to either of these two.

Melody (3) has a different omkväde. There is only one omkväde line, which comes at the end of the verse, and translates as: She said that she wanted to ride. But as well as this, the second of the two verse lines is sung twice.

Here is a video demo of these three melodies.

Recordings


Here is Liten Kersti Stalledräng performed by Carin Kjellman and Ulf Gruvberg, from their album Med Rötter i Medeltiden (1974). These two later formed the group Folk och Rackare. A couple of earlier posts feature ballad recordings by them: Lord Peter's Sea Voyage and The Power of the Harp.




----

E. G. Geijer and A. A. Afzelius, Svenska Folkvisor Från Forntiden, Stockholm, 1814--1816
J. N. Ahlström, 300 Nordiska Folkvisor, Stockholm, 1878
Bidrag till Södermanlands Äldre Kulturhistoria, Södermanlands Fornminnesförening, Vol I, 1877, p 28.

My own translation of Little Kerstin the Stable Boy is included in my book, Lord Peter and Little Kerstin.

Tuesday, 21 February 2017

The Ballad of Sinclair

The Ballad of Sinclar (Zinklars vise) is a ballad from Norway composed by Edvard Storm in 1781. It tells the story of a historical battle at Kringen in Norway, which took place in 1612. In this battle, a group of Norwegian farmers ambushed a company of Scottish soldiers (one of the officers was a Captain George Sinclair) who were on their way to fight for Sweden against Norway in the Kalmar war. The ambush took place where the Scottish soldiers had to pass along a narrow way bordered by steep slopes on one side and a river on the other. The Scots were heavily defeated, and the battle assumed a legendary status, partly due to the poems, stories, and songs that have been told and sung about it. This is one such.

You may see from the performances below that it is still a popular song for bands and singers who like to sing old ballads. There are some stylistic differences between this and a typical folk ballad though.

The Battle of Kringen by Georg Nielsen Strømdal

Plot


Before the action proper begins, there are a couple of opening verses in which we hear that things will not go well for Mr Sinclair, and that though he comes sailing over the salty sea or the billowy blue to fight for his Swedish paymasters, he will soon find his grave in Norway.

Even Sinclair himself is warned to turn back as he approaches Norway onboard his ship. A mermaid appears on a wavetop and tells him that if he lands in Norway, he will never return home alive. But Sinclair is not interested in listening to the mermaid. He shouts a few choice words at her and sails on. And on the fourth day, he sights the Norwegian coast.

The Scottish army lands at Romsdal, 1400 of them, and all very bad men ... they go through the country, burning and pillaging, hurting widows and killing babies. Well the news of this spreads throughout the land, but as all the Norwegian soldiers are away fighting for the king, the farmers decide that they will have to defend the land themselves. And so they gather with their axes and plan to "have a word with" Mr Sinclair.

The ballad singer then describes the site where the ambush will take place: the path called Kringen runs close under the hill while a river runs close by. And into that river the enemy will fall.

The grey-haired farmer takes his rifle from the wall. And another creature of Norwegian folklore, the Neck, appears, raising his wet beard from the water. He anticipates that soon he will have his prey, when all the Scotsmen fall into the river.

Sinclair dies by the first shot that hits him. And so all his men cry out in despair. But the Norwegians give a rallying cry, and the Scots wish they were back at home. Kringen is soon strewn with dead bodies, so that the ravens have enough to eat, and the Scottish girls would cry if they could see it. Not a living soul comes home to tell his countrymen how dangerous it is to visit those who live in the Norwegian fells. And there now stands a monument now in that place.

Here is the full text of the ballad.

The lyrical style that this ballad is written in is noticeably different in parts from the typical folk ballads, though it is sung to ballad melodies, sometimes with a refrain (omkväde). I would say the first seven verses are a lot closer than the rest to the style of a traditional ballad.

The opening two verses are reminiscent of the opening two verses of, say, Bendik and Årolilja, where the entire plot is summarised very briefly in a single verse, and then immediately repeated with minor variation. The verses where Sinclair is speaking to the mermaid are also more typical ballad verses, with a lot of direct speech. But there is little of this later in the ballad: there is a lot of more commentary, and where there is speech, it is somehow more abstract as the speaker is not identified. Much of the imagery and many of the descriptions also seem richer to me than in a typical folk ballad.

The rhyme pattern in Norwegian is ABAB. This is very unusual. Four-line ballad verses are typically ABCB, or very occasionally AABB. And the rhymes are almost all perfect, which is also very unusual. A further feature that sets this ballad apart from the typical medieval ballads is the lack of repetition. The first two verses of the ballad are variations of one another, but beyond that, repetition, which is such a typical feature of the folk ballads, is basically absent.

Now there is also a Swedish Sinclairvisan (Ballad of Sinclair) that is quite unrelated to this one. The Swedish ballad tells of a certain Swede by the name of Malcolm Sinclair and his murder by the Russians. The text was written by Anders Odel (1739), and the melody is a variation on the Folia tune. Perhaps this Swedish ballad will be for a future installment ...


Melodies


The lyrics by Edvard Storm do not include a chorus (omkväde) line. Here are two Norwegian melodies for the ballad from Berggreen:

(1) Sinclars Vise (Berggreen 65a)

(2) Sinclars Vise (Berggreen 65b), from Trondheim.

But nowadays the ballad is often performed – see below – to a traditional melody from the Faeroes (or perhaps from Denmark via the Faeroes), with the omkväde: Vel op før dag, de kommer vel over den hede (well before day, they come over the heath).


Recordings


This is the whole ballad, sung to a melody without an omkväde (chorus) line. It appears on an album of Edvard Storm's songs, Viso I Gomol Og Ny Drakt (1993), performed by Stormti. This rendition uses two verse melodies, both different from the two melodies given above.




Folk rock pioneers Folque interpret the ballad (Sinclairvise) using the melody with the omkväde. This ballad appeared on their first album, Folque (1974). Folque have made recordings of ballads previously featured on this blog: Heming and King Harald and Sir Olof and the Elves.




Faeroese folk metal band Tyr recorded their take (Sinklars Visa) based on the same melody. This appears on their album Land (2008). Note that although these last three performances are from the Faeroe Islands, the language is not Faeroese. They are all singing the lyrics as written in Norwegian, though the pronunciation may be described as Gøtudansk (street Danish), and is typical for singing Danish ballads in the Faeroes.




The former singer of Tyr, Pól Arni Holm, now sings with Hamradun. They also recorded Sinklars Visa for their first album, Hamradun (2015). This take again uses the same melody, but with all the ballad verses.




In the Faeroe Islands, ballad singing often goes together with a traditional dance called the ballad dance. Here you can see the Faeroese ballad dance to Sinklarsvise.




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A. P. Berggreen, Norske Folke-Sanger og Melodier, Kjøbenhavn, 1861

Wednesday, 11 January 2017

Bendik and Årolilja

Today to Norway ... the ballad of Bendik and Årolilja continues to attract a fair amount of interest, and it has been recorded quite a few times in recent years. The traditional ballad was sung in Norway, and the recordings have mainly been made by Norwegian musicians.

The story is a tragic one, of the struggles and hopelessness of forbidden love.

The Romance of Tristram and Iseult by Maurice Lalau



Plot


Our tragic hero Bendik rides away from his home to find a wife. And soon he falls in love with Årolilja, a king's daughter. Even in the opening verse of the ballad we are told that things will not turn out well for Bendik.

The king, we hear, builds a "golden track", and commands that no-one should step onto it on pain of death. It is not really clear from the ballad text what this "track" actually is -- perhaps a difficult route up a steep cliff to where Årolilja is living. This is a little unusual as the language of ballads is typically straightforward. What is clear though, from everything that is said, is that the "track" seems to represent the king's daughter, Årolilja.

Bendik declares that he will dare to tread on the track, and off he rides, hunting in the woods by day, and visiting the fair maiden by night ...

But a small boy sees it all, and treacherously he runs back to the king with the news that Bendik has dared to "tread on the track". The king understands full well what this means, and he declares that Bendik will have to die.

When Bendik is taken prisoner and tied up, he has no problem in breaking the many strong ropes that are used to bind him. But then the small boy suggests to the king that he should instead take one of Årolilja's hairs, and use that to tie Bendik up. This is a successful strategy. Rather than break the hair of his beloved, Bendik chooses to remain tied up in the prison.

Many living things then pray for Bendik: birds, deer, trees, flowers, fish, and men. Årolilja too comes to her father to beg for Bendik's life, but she is refused. There is an interesting moment when Årolilja's mother, the king's wife, also comes to beg for Bendik's life. She reminds him that they had been married without her own father's blessing, and that he had promised to grant her anything she asked. But he still refuses her this.

Bendik is killed beside the church. And at the same time, Årolilja dies of sorrow. When the king hears of this, he regrets his hard stance on Bendik. Too late, of course.

The ballad ends with lilies growing forth from the graves of Bendik and Årolilja, and intertwining above the church roof.

Here is a full text of the song from Landstad.

I don't know of any Swedish versions of this ballad, but there is a related (and even longer) ballad in Faeroese (Bænadikts visa), and also related ballads in Danish (Ismar og Benedikt or Edmund og Benedikt).


Melodies


This ballad is usually sung to a melody that was composed by Ingvar Bøhn in the 1880s. All the recorded versions linked below use this melody, though the arrangements and sounds are very different. It is very unusual that the composer of a ballad melody is known.

Here is the score: Bendik and Årolilja. And here is a demo of the melody with lyrics in English.


Recordings


Gåte were a recent young Norwegian band singing folk songs in a rather rockier style. The name Gåte means "riddle". I like their take on this ballad ... the singing of Gunnhild Sundli is reminiscent of Dolores O'Riordan of the Cranberries in some places (I guess it's pretty clear where I mean ...). There are only four verses here though, so it's rather a "highlights" version of the story. Bendik og Årolilja is the opening track on Gåte's debut album, Jygri (2002).




Here is a link to a live take by Gåte.

Bukkene Bruse are a traditional Norwegian group who I am quite surprised that I have not already mentioned on this blog. Their name is usually translated into English as the "Billy Goats Gruff" as it is the title of a well-known Norwegian folktale. Their take on Bendik og Årolilja has great vocals from Arve Moen Bergset, with a varying accompaniment. This is from their album Åre (1995).




Here are a couple more tracks from the singer Arve Moen Bergset that I will take the opportunity to mention ... and again before his voice broke!

Kirsten Bråten Berg is Norwegian traditional folk singer who has recorded several ballads. So again I am surprised not to have mentioned her before here. This version of Bendik og Årolilja is from her album Songen (2010).




This version of Bendik og Årolilja from Celine Helgemo was performed on the Norwegian TV program Stjernekamp (a singing competition for established musical artists). It uses the same four verses as Gåte's take on the ballad.




Anne Vada and Aki Fukakusa recorded Bendik og Årolilja for their album Solrenning ... with Norwegian songs arranged to feature Japanese instruments.




Hirundo Maris is a group founded by Arianna Savall and Petter Udland Johansen, playing early music from Scandinavia and the Mediterranean region. Here is a live take on Bendik og Årolilja.




And finally a choir version.




This may be from the same choir ... I like this take better but the recording quality is not as good.

----

M. B. Landstad, Norske Folkeviser, Christiania, 1853
My own translation of Bendik and Årolilja is included in my book, The Faraway North.