Sublimations

Dive into a rare and fascinating musical universe: that of the Scandinavian countries! Accompanied by little-known instruments such as the Swedish nyckelharpa and the Norwegian hardingfele, The Curious Bards unveil, in this new recording, dances and songs composed in the 18th century, drawn from long-forgotten manuscripts. Three questions for Alix Boivert.

Why did you choose to focus on the Scandinavian countries (Norway and Sweden)? 

Alix Boivert: After several years of exploring and rediscovering 18th-century Irish and Scottish folk music, it felt natural to broaden our scope to neighboring regions where musical, cultural, and social interactions have left an equally rich imprint. We thus decided to turn our attention to the folk music of the Scandinavian countries, particularly Norway and Sweden, whose 18th-century repertoire holds many overlooked treasures. This choice reflects our desire to diversify our approach while staying true to the spirit of European folk music, exploring the distinctive sounds, rhythms, and dances of the period. Scandinavian music from that time is particularly fascinating due to its richness and cross-cultural influences. In the 18th century, these countries were at the crossroads of several European musical traditions. Diplomatic, commercial, and military exchanges facilitated a continuous flow of music between Scandinavia and its neighboring regions—Germany, Poland, and, of course, the British Isles. This cultural intermingling led to the emergence of a repertoire that is both unique and deeply rooted in ancient traditions. Beyond external influences, Scandinavia also had its own distinct musical characteristics, shaped by its geography and history. We chose these two countries because they offer a captivating glimpse into a folk and dance repertoire that is both part of a broader European tradition and deeply local in its particularities. This, in turn, allows us to broaden our perspective on 18th-century European music.

Can you tell us more about the lesser-known repertoire and your musicological research for this recording?

A. B.: Our work on this repertoire was an in-depth research journey that involved studying numerous manuscripts and music notebooks, many of them previously unpublished or difficult to access. We spent years combing through archives, libraries, and museums to uncover historical scores and transcriptions, while also striving to understand the social and cultural contexts in which these pieces emerged. Norway and Sweden are rich in historical musical documents, but many of these sources remain underexplored. They contain collections of dances, songs, and salon music that reveal the mutual influences between various regions of Northern and Eastern Europe. We discovered a remarkable variety of musical forms: from dances like the polonaise, which spread to Scandinavia in the late 16th century, to more local tunes such as Norwegian springedans or Swedish marches. These pieces were transmitted both orally and in written form, and we sought to reconstruct this dual heritage to better understand how folk melodies evolved over time. The manuscripts we studied also contain an astonishing number of variations and adaptations of well-known melodies, reflecting the constant exchange between musicians who frequently reworked pieces to suit their own styles or instruments. For instance, the polonaise, which—true to its name—originated in Poland, was repeatedly modified in Scandinavian regions, resulting in variations that became an integral part of the local musical culture. This process of reinterpretation was not limited to studying scores. We also sought to understand how these pieces were passed down and how they transformed in response to social, political, and cultural changes. Scandinavian folk music was often tied to everyday events—weddings, festivals, even military gatherings. Dance tunes, marches, and songs were essential elements of social life, and it is this intimate connection with popular culture that we aimed to capture in this recording.

 In a few words: What about the particular instruments you used? 

A. B.: One of the most striking aspects of this project is our use of historical instruments, which are essential for recreating the distinctive sound of 18th-century Scandinavian music. We were fortunate to work with two particularly rare and characteristic instruments: the hardingfele and the kontrabasharpa. These instruments are not only crucial for an authentic interpretation of this repertoire, but they also add a unique sonic dimension to the music. The hardingfele is a Norwegian violin with sympathetic strings—extra strings that vibrate in response to the main strings. This instrument, both mysterious and mesmerizing, is at the heart of Norwegian folk music. It stands out for its rich sound, which blends the clarity of the violin with the resonance of the sympathetic strings, creating a unique acoustic effect. The one we used was built by Ottar Kåsa, based on an 18th-century model by Trond Botnen. The kontrabasharpa, on the other hand, is even less known but just as captivating. It is an ancestor of the nyckelharpa, a bowed instrument with keys that press on the strings. This 18th-century model has a keyboard that simultaneously activates two melodic strings, producing a dense texture. It was specially reconstructed for this project by luthier Jean-Claude Condi, who based his work on a model preserved at the Musée de la Musique in Paris. Its deep, resonant sound, enriched by sympathetic strings, makes the kontrabasharpa a truly fascinating instrument to hear. These instruments are far more than just musical tools; they are the voices of Norway and Sweden’s musical history, allowing us to convey, through their sounds, the vibrant culture and era they belong to.