The Story of Aintree and Putney

Total Page:16

File Type:pdf, Size:1020Kb

The Story of Aintree and Putney Southern Edition, Radio ‘ T i m e s , , Marreh 23,1928; GRAND NATIONAL AND BOAT RACE NUMBER. a ae a Sree 2awlPirieeey pir “nig”eek HEFEIELO saa neeS atric eorTringHaM STOHE- OyTRET ans the. awl @ auespiiovenae 4 a pave eowelt} = LONDON ot ae Bias = ‘BOURNEAROUTE Eaa pert meEea"imam amin a a The besten of the British Broadcasting Corporation. = ————————— Vol.1. No 234.‘foPeaseXsere _MARCH|B 1928. Every Friday. Two Pence. | The Story of Aintree and Putney, of the Grand National Steeplechase and the University Boat Race, will be heard bylisteners a l l over the country on Friday and Saturday of this week, In 1927 these two broadcasts were among the most successful and popular of the year. This week's Radio Times deals specially with the two @a@€es, each a classic in its own category. Youwill find plans of the courses on page 593, and on the previous page articles by Geoffrey Gilbey and x. O. Nickalls, this year’s commentators. Te have their feet in. history—the Captain Hanssom's patent cabs (' the gondolas distinction, shall we say, save that Captain Boat. Race’ and " the: -Grand-|-of London a3 Disraeli was to call the am} were Becher, son of a Norfolk yeoman, anc first National,” We forget.it nowadays, still a novelty, of. the great cross-country riders (there's but we remember that they mark the turn of Down. at Westminster the. two. early still Becher’s Brook on your Aintree map) the year, Spring comes with them. anda.) University crews foregathered—young men| 8 among the threng. (TLESSé They are British things tirsute g i : : HE years roll on, You will temember theseeileentwain,aginandaefull of highoe,endeavour,1 eyand “itheirbeWwhiskered,broad sailorin theirhats.. broad.And boatssup- oe eeee eal: eadCERNE And the history.. We cannot .picture porters of the Light Blue and the Dark —_ ce “apes Sree a ee cee ‘ent ‘i 294° when the road stil had its glory and Blue followed behind in. cutters manned by =.’ saith dalyIranidelegateho 1639. whe re a See Tee es aes a ba Po Y | Putney for ther race. ‘The new steamers the iron horse was.still'a colt.; when-the Thames watermen. I could tell you the Bread mE oes RES ae ot oA ah : : ay ., | down Westminster way-had been nigh Thames was. still a great highway and story of how the Cambridge lightning Biden too ae crew Jed poor Oxford all the way up-siream poeta ok Metron 7. on that. day by Vauxhall's gay gardens, through Chelsea's choppyreach,.past Batter- Sea. village to the littl: town of Putney, but it would seem unkinel. Then. up at Aintree out by those same prand rolling acres a. concourse of North Country sportsmen—the roads-a-block with farmers’ gigs and gentlemen's drags and strings of saddle horses, Young bucks there are, resplendent in their satm. gold- epriceed waistcoats and their bright blue claw-hammer coats. But the old squire would. have none of this new sport. -He staved. at home nursing his conte! steeple- chasing,’ he would say,.° steeplechasing. Pray what's that, my boy ? _-Fox-huntin’ without the fox ; Hamlet without. the Prince—bah |! And_the riders across Aisivenss sticks and plough. were. a’ ‘motley .créew., Butchers, | publicans, horse-dealers, farmers—some in tall hats and. others. not. All’ without a — = a oe er 2 0 — RADIO TIMES —.- [aEatuter a; ee » The Fath of the Week, No. | I Remember J . M. Synge. One of the most amazing literary renaissances -ol modem days iea thattha which produced J. M. Syne, B. ¥ é@als, Jameg Stephens, and other’? notable figures which gathered around the Abbey Theatre in Dublin. In this talk, givenye London on ‘Thursday, foren:cst March 15, James ‘Stephens, Treland’s novelist, contmbutes a delicate and gadentanding portrait ol i. M. Synge, her greatest p l a y w r i g h t , author of The Playbey of the Western World. T was tiot until Jate in his rather thort | hot for Synge -a place fronr which turf or continually to be found m it the wiry line, l i f e ‘that Synge discovered his true eatis cut.. A bore was an enchantment, as the rigour, the sharp and hare and bleak ability to lie neither in philosophy nor | Fisted it is to. everyone who has hecome that he imly loved. and which he would music but i n drama, and one may wonder acquainted with or has lived nigh to a bog. have farther striven to. how he came to make this discovery, for he To get well mto an extensive mooris to leave His knowledge of the countryside was was a painfully slow writer, and his veryslow- ali* else behind, is to have left the world extensive and penetrating. He ‘knew the ness might-have led him to distrust an art- thind, is almost to have left one’s self afar call of every bird and the habit of most form, that was so difficult to handle: To the amd apart and forgotten, There is the bog creatures. that are to be found in our ways end writing was a toil to him. In this, how- and the clouds, and the rest merges to them, and pastures. His approach to knowledge ever, he was not exceptional ; for the majority Thé sea is desolate > but it is also, and un- was—to be silent; to look eagerly at all, of writers have assured us that writing i5-a forgivably, a desolation. But the bog is nota that came; and te listen intently to all labour from which one may really shrink a desolation ; it is desolate, but it is habitable that happened. And, in his approach to little. Synge occasionally got somereviewing and inhabited, Birds and rats and bees and a knowledge of the human imbhabitants to do for a literary weekly, but he had. t o rabbits are there, An odd donkey or a goat of the countryside, he used the same” ap- discontinue this because thearticle, for which is always, somewhere, ambling or frisking proach and attitude. As a boy he wan- he might receive two guineas, always cost dered the hills of Dublin and Wicklow, himsix weeks to write ; and these were six and’ he knew. these intimately. He could weeks of painful cogitation a s to how possibly assure a thirsty companion that behind one can. say anything whatever with a pen a cértam folding In next weeks issue of a certain hilly track that wall afterwards be readable, there was a well, And, if one was thirstier S t i l l Jater,; he confessed that if his day's LION FEUCHTWANGER, still, he would tell behind how many: hills- anc-a-half'a work had actually resulted i n the additionof author of ‘few Sita,’ and “The Ubly tavern lay; or that on Sixteen two words to his manuscript, although he rising tums to the left a slaty cottage was might not feel triumphant and inclined to Duchess,’ writes on ootched among slaty rocks, and that there celebrate the occasion, he did) yet consider “THE FUTURE OF BROAD- one could get-a glass of milk and a cake that the day had not been wasted, that his CASTING.’ from the griddle. And he knew that in all subject was not absolutely stationary. these places, ifone were well-bred—if, thatis, He'lived in Paris for some years at the Read what the leading Continental novelist were silent and ineonspicuous—there Rue d'Assas, and his apartment was ade- of the day has to say on a subject’ which ‘be heard a fashion of speech which quately furnished with a bed, an oilkstove, will interest every keen listener, was not conned fram books: which had a book-case, and a yard of French bread, no acquaintance with art or science oF and while in Paris he really needed whatever Pa scholarship, and ‘which was yet abundant scarce guineas might come his way. Pos- and racy and of a remarkable texture— sibly the philosophy he hadtoiled after was away from you, is always ‘cropping “an the exuberant speech of isolated people. ‘sufficienth robust at this time to tide him endless breakfast. Tor in a bog you could People who are always as tinnud in action ‘over the bad days, but, although he did not easily imagine that the breakfast of a donkey as they are bold in talk; being bold indeed. complain, he did consider that a meal which bean before time began, and that it will in the only thing they, have. practice of, est more than one franc twenty-five had contirme while time has yet a second to draw For from these perople every adventure but been extravagantly paid for. on. And over tt all there 15 wind and space the adventure of speech has been retired, He was somewhat negative to ordinary and cloud and silence; the wind always and they must seek in conversation all of human bemes (the dramatist tends to be so); different, the cloud never the sanie, the the change, all of the excitement that ethers not that he dishked people, but he did not silence never monotonous. All these seem win from travel, from theatres, from the dimire them, He certainly did not love his to live as it were one life, and one’s own life press of men and affairs, fellow human beings m themass. Withhim participates into that, or seems scarcely to More than six people could easily become a be sundered from it.
Recommended publications
  • ASSIGNMENT and DISSERTATION TIPS (Tagg's Tips)
    ASSIGNMENT and DISSERTATION TIPS (Tagg’s Tips) Online version 5 (November 2003) The Table of Contents and Index have been excluded from this online version for three reasons: [1] no index is necessary when text can be searched by clicking the Adobe bin- oculars icon and typing in what you want to find; [2] this document is supplied with direct links to the start of every section and subsection (see Bookmarks tab, screen left); [3] you only need to access one file instead of three. This version does not differ substantially from version 4 (2001): only minor alterations, corrections and updates have been effectuated. Pages are renumbered and cross-refer- ences updated. This version is produced only for US ‘Letter’ size paper. To obtain a decent print-out on A4 paper, please follow the suggestions at http://tagg.org/infoformats.html#PDFPrinting 6 Philip Tagg— Dissertation and Assignment Tips (version 5, November 2003) Introduction (Online version 5, November 2003) Why this booklet? This text was originally written for students at the Institute of Popular Music at the Uni- versity of Liverpool. It has, however, been used by many outside that institution. The aim of this document is to address recurrent problems that many students seem to experience when writing essays and dissertations. Some parts of this text may initially seem quite formal, perhaps even trivial or pedantic. If you get that impression, please remember that communicative writing is not the same as writing down commu- nicative speech. When speaking, you use gesture, posture, facial expression, changes of volume and emphasis, as well as variations in speed of delivery, vocal timbre and inflexion, to com- municate meaning.
    [Show full text]
  • Northwest Accordion News
    NORTHWEST ACCORDION NEWS Alpenfest! Holiday Polka Washington State Fair Bringing Structure to Abstract Chaos Accordion Social Reports from the Northwest Groups VOL. 23 NO. 4 Northwest Accordion Society Winter Quarter 2013 Northwest Accordion News NWAS News Deadlines NORTHWEST ACCORDION SOCIETY February 1, May 1, August 1, November 1 The Northwest Accordion News is a quarterly newsletter published by the Northwest Accordion Inquiries, questions, suggestions, etc. Society for and by its members. The purpose of Contact Doris Osgood, 3224 B St., the NWAS News is to unite the membership by Forest Grove, OR 97116. (503) 357-0417. providing news of its members, and articles that E-mail: [email protected] instruct, encourage, and promote the playing of the accordion. NWAS PUBLICATION PRIORITIES ♦ Advertising Mail letters & articles to: ♦ Original Compositions Northwest Accordion Society ♦ News from Our Members 5102 NE 121st Ave. #12, ♦ Instructive/Technical Articles Vancouver, WA 98682 ♦ Summaries from Regional Socials and Or e-mail to: [email protected] Events ♦ Coming Events ADVERTISING Articles will be printed if received prior to Full page $110.00 the publishing deadline. Should space be an Half page $55.00 issue, articles will be printed in the order in which Quarter $30.00 they are submitted. All decisions regarding Business card $10.00 publication will be made by the editors of the Prices are PER ISSUE. US Funds NWAS News. To submit articles for publication, mail Photo-ready Advertising (with accompanying check) them to the Vancouver, WA address listed. It is for this publication may be sent to: preferred that articles be submitted via e-mail as Northwest Accordion Society attached WORD documents or on a disc.
    [Show full text]
  • Investigating Case Learning Techniques for Agents to Play the Card Game of Truco
    SBC { Proceedings of SBGames 2020 | ISSN: 2179-2259 Computing Track { Full Papers Investigating Case Learning Techniques for Agents to Play the Card Game of Truco Ruan C. B. Moral Gustavo B. Paulus Undergraduate Program in Computer Engineering Graduate Program in Computer Science Federal University of Santa Maria – UFSM Federal University of Santa Maria – UFSM Santa Maria – RS, Brazil Santa Maria – RS, Brazil [email protected] [email protected] Joaquim V. C. Assunção Luis A. L. Silva Applied Computing Department Graduate Program in Computer Science Federal University of Santa Maria – UFSM Federal University of Santa Maria – UFSM Santa Maria – RS, Brazil Santa Maria – RS, Brazil [email protected] [email protected] Abstract - Truco is a popular game in many regions of South situation (a current case problem to be solved). Once a America; however, unlike worldwide games, Truco still concrete problem-solving experience is retrieved from requires a competitive Artificial Intelligence. Due to the memory, materialized as a case base in CBR, the agent limited availability of Truco data and the stochastic and reuses the decision made in the past to solve the current imperfect information characteristics of the game, creating problem. For a case-based agent to perform actions in a competitive models for a card game like Truco is a competitive game, that agent can initially use challenging task. To approach this problem, this work demonstrations of game actions performed by human investigates the generation of concrete Truco problem- players, where demonstrations of various kinds can be solving experiences through alternative techniques of recorded as cases in the case base [5].
    [Show full text]
  • III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
    III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo.
    [Show full text]
  • Espacios Transliterarios Hibridez, Digitalidad, Migración
    Espacios transliterarios Hibridez, digitalidad, migración Edición a cargo de Susana Justo Barreira Laura Pereira Domínguez 01 ESPACIOS TRANSLITERARIOS Hibridez, digitalidad, migración Jean Monnet Papers Número 1 ESPACIOS TRANSLITERARIOS Hibridez, digitalidad, migración EDICIÓN A CARGO DE Susana Justo Barreira Laura Pereira Domínguez 2018 UNIVERSIDADE DE SANTIAGO DE COMPOSTELA © Universidade de Santiago de Compostela, 2018 Edita Servizo de Publicacións e Intercambio Científico da Universidade de Santiago de Compostela Campus Vida 15782 Santiago de Compostela usc.es/publicacions Maqueta Antón García Imprenta Universitaria DOI: http://dx.doi.org/10.15304/9788416954940 ISBN 978-84-16954-94-0 ÍNDICE 7 Introducción. Los espacios transmodernos en la literatura 15 ASUNCIÓN LÓPEZ-VAREla AZCÁRATE. El futuro de las narratologías híbridas II: A través del espejo de Lewis Carroll 55 MONTSERRAT COTS VICENTE. Intertextualidad y literatura híbrida: Comment peut-on être français? de Chahdortt Djavann 65 ROSA MARÍA DÍEZ COBO. El realismo mágico como género de expresión transfronteriza en la literatura hispana en Estados Unidos 77 ELENA VEIGA RILO. Cultura japop: manga e hibridación literaria no Brasil 87 NELSON SINDZE WEMBE. La literatura negroafricana de la inmigración: definición, precursores, particularidades 105 SaluStio alvarado, renáta Bojničanová. La visión de la República Argentina en dos escritores emigrantes: Martin Kukučín (1860‑1928) y Vicente Blasco Ibáñez (1867‑1928) 127 SARA FERNÁNDEZ POLO. El Doctor Kronz: un exiliado sin cura 147 MAR FERNÁNDEZ-VÁZQUEZ. Mujeres y migración en la narrativa juvenil gallega 159 DANIEL ARRIETA DOMÍNGUEZ. Intertextos, subgéneros y personajes ambiguos en Pale Fire, de Nabokov, y Aurora Lee, de Eduardo Lago: integración y disolución de los schemata cognitivos del lector en dos novelas híbridas 175 SIlvIA ALONSO PÉREZ.
    [Show full text]
  • Dance in Copenhagen, C. 1750-1840
    Dance in Copenhagen Dance in Copenhagen, c. 1750-1840 By Henning Urup The subject of this article is dance forms in Denmark, and especially in Copenhagen, in the period c. 1750-1840. The account is based on the preseryed source material, and this involves an important methodological problem. Dance is a transitory phenomenon in the form of motion in the present. The written sources are descriptions of something seen and experienced, or instructions on how the dance/music is to be executed. It has always been diffiCldt to write dan ces down, and for that reason many dan ces have never been recorded on paper. In the European musical tradition, the notation of mus ic plays a central role, and the concept ofthe work is ofte n tied to the notation. By analog)' with this, incomplete or inadequate dance notation poses a problem. Musical notation gives us information about pitch and durations as well as dynamics and phrasing. The notation of dance requires similar infor­ mation, but also indications of body movemen ts, orien tations of arms and legs and progressions of movement through space. Dance notation therefore becomes complicated, and the various systems of notation are usually associated with specific dance forms and styles where. because of certain shared assumptions, one does not need to write down too much. Elements that are self-evident in the tra­ dition in question are usually omitted. Many important details have thus never been written down, and this poses an important problem for later researchers. The relationship of the author to dance and music is of great importance in interpreting the source material.
    [Show full text]
  • EGIL BAKKA, THERESA JILL BUCKLAND, Et Al
    WALTZING THROUGH EUROPE B ALTZING HROUGH UROPE Attitudes towards Couple Dances in the AKKA W T E Long Nineteenth-Century Attitudes towards Couple Dances in the Long Nineteenth-Century EDITED BY EGIL BAKKA, THERESA JILL BUCKLAND, al. et HELENA SAARIKOSKI AND ANNE VON BIBRA WHARTON From ‘folk devils’ to ballroom dancers, this volume explores the changing recep� on of fashionable couple dances in Europe from the eighteenth century onwards. A refreshing interven� on in dance studies, this book brings together elements of historiography, cultural memory, folklore, and dance across compara� vely narrow but W markedly heterogeneous locali� es. Rooted in inves� ga� ons of o� en newly discovered primary sources, the essays aff ord many opportuni� es to compare sociocultural and ALTZING poli� cal reac� ons to the arrival and prac� ce of popular rota� ng couple dances, such as the Waltz and the Polka. Leading contributors provide a transna� onal and aff ec� ve lens onto strikingly diverse topics, ranging from the evolu� on of roman� c couple dances in Croa� a, and Strauss’s visits to Hamburg and Altona in the 1830s, to dance as a tool of T cultural preserva� on and expression in twen� eth-century Finland. HROUGH Waltzing Through Europe creates openings for fresh collabora� ons in dance historiography and cultural history across fi elds and genres. It is essen� al reading for researchers of dance in central and northern Europe, while also appealing to the general reader who wants to learn more about the vibrant histories of these familiar dance forms. E As with all Open Book publica� ons, this en� re book is available to read for free on the UROPE publisher’s website.
    [Show full text]
  • Baroque Dance
    BAROQUE DANCE To understand and interpret musical style of the Baroque era (1600 to 1750) we need to explore a wider field of the Baroque times – the social and political events, the art and architecture, and most importantly Baroque Dance. During the reign of Louis XIV (1638 – 1715) in France the arts flourished. Not only was the King a great patron of the arts, he was also a skilled performer as instrumentalist, singer and above all an outstanding ballet dancer. Dancing was popular not only at Louis XIV’s court but in many aristocratic ballrooms; the influence of Louis XIV’s court was widespread and French dancing masters (with their manuals) travelled throughout Europe. Dancing was considered to be healthful exercise for women, and was a necessary skill for men along with fencing and riding. The Dance Suite, rhythmic patterns from dances pervaded all Baroque music, and instrumental pieces inspired by court dances were frequently grouped into Suites. BAROQUE DANCES Dances from the Baroque period had a great influence on keyboard music. Dance forms included allemande, bourree, chaconne, courante, gavotte, gigue, hornpipe, minuet, musette, polonaise, rigaudon, sarabande, tambourin. Some of the dances were based on folk dances. Minuet the “queen of dances”, the most popular dance of aristocratic society – often performed by one couple at a time, after bowing to the King or whomever was presiding while others observed. The dance had small steps and a complex two bar foot pattern. Allemande of German origin, duple meter, intricate footwork. Courante (courir, to run) used mostly hop-step combinations Gavotte regular part of formal court balls; a joyful dance in duple meter, had “springing” steps Sarabande originally from Latin America and Spain, became very popular in Europe; is in triple meter with frequent accents and longer notes on second beat, a stately, dignified dance.
    [Show full text]
  • Deal Or No Deal Board Game Instructions
    Deal Or No Deal Board Game Instructions Gordan mortgage his thumbprint cannibalise transcontinentally, but riskier Spense never albuminizes so horrendously. Lawson pounds broad? Gude Ed proliferates patchily or depolymerize censurably when Wilek is gaff-rigged. Review all of them or continue on deal game from right, before prizes or is sometimes called before choosing their bank offers from the last bird with the button, placing the dynamics of. Unlike other holecard is no one pink action birds can deal or no deal board game instructions indicated by? Also helps with the extra cards named is still alive in, flip the deal or no deal board game instructions on your heroic life point. Hi jamey or next turn and press done two cards, safety information provided valuable tokens into this formation of moving right, llc licensed by? Sleep phase because it? After everyone gets sent and conditions for this will deal, but my comment, you may also. Each player has finished. We have no deal board games, you should place a private tip of family members of play a food than one card face down for this! Cards and place a card and proceed in a strike. All of another habitat as dramatically diminished. This server could not have instructions for any points are tucking it makes these. Each ruin stack still needs, burns a base game features of? Deal board game instructions on no deal one else draws three or karma card you out of uncertainty reigns. Learn how are? Anything but i love it, according to more than it means you have limitations, place building removed from your last remaining! Deal or No less SMART this game who Live with Love and.
    [Show full text]
  • Driving the Bow Fiddle and Dance Studies from Around the North Atlantic 2
    DRIVING THE BOW fiddle and dance studies from around the north atlantic 2 edited by ian russell and mary anne alburger Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 The Elphinstone Institute Occasional Publications 6 General Editor – Ian Russell 1. A�er Columba – A�er Calvin: Community and Identity in the Religious Traditions of North East Scotland edited by James Porter 2. The Bedesman and the Hodbearer: The Epistolary Friendship of Francis James Child and William Walker edited by Mary Ellen Brown 3. Folk Song: Tradition, Revival, and Re-Creation edited by Ian Russell and David Atkinson 4. North-East Identities and Sco�ish Schooling The Relationship of the Sco�ish Educational System to the Culture of North-East Scotland edited by David Northcro� 5. Play It Like It Is Fiddle and Dance Studies from around the North Atlantic edited by Ian Russell and Mary Anne Alburger 6. Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 edited by Ian Russell and Mary Anne Alburger Elphinstone Institute Occasional Publications is a peer-reviewed series of scholarly works in ethnology and folklore. The Elphinstone Institute at the University of Aberdeen was established in 1995 to study, conserve, and promote the culture of North-East and Northern Scotland. Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger The Elphinstone Institute University of Aberdeen 2008 Copyright © 2008 the Elphinstone Institute, University of Aberdeen, and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, University of Aberdeen, copyright in individual contributions remains with the contributors.
    [Show full text]
  • Finnish Fiddle Music Kaivama and Arto Järvelä by Stewart Hendrickson
    ARTICLE Arto Järvelä and Kaivama (Sara Pajunen and Jonathan Rundman) Finnish Fiddle Music Kaivama and Arto Järvelä by Stewart Hendrickson Last May I enjoyed hearing some great Finnish fiddle music by Kaivama, a duo of two young musicians of Finnish-American heritage, Jonathan Rundman and Sara Pajunen, and the Finnish fiddler extraordinaire Arto Järvelä at a Seattle Folklore Society Concert. I was somewhat familiar with Finnish folk music and this increased my interest in the fiddle music. I find Finnish folk music a little different from the more mainstream Nordic folk music. I like the haunting, melancholic use of the minor key – often alternating with a major key – giving it a sort of Russian sound. It has a certain edge to it which I like. Two major traditions of Finnish folk music are the Kalevalaic tradition, and the Nordic folk or pelimanni tradition. The Kalevalaic tradition is older and was influenced by traditions of the Finnish people of Karelia (in northwestern European Russia), and traditional tunes and lyrics from the Kalevala, an epic poem by Elias Lönnrot in the 19th century drawing on early Finnish folklore. Pelimanni is the Finnish version of Nordic folk dance music. It came to Finland from Central Europe via Scandinavia beginning in the 17th century and has taken on a distinctive Finnish flavor. In the 19th century it began to replace the Kalevalaic tradition. Pelimanni music was generally played on fiddle and clarinet. Later, the harmonium and accordions were also used. Common dances in the pelimanni tradition include the polska, polka, mazurka, schottische, quadrille, waltz, and minuet.
    [Show full text]
  • Ilaafe7:;.:A ; I»Q of Soil Irt'thb^Rea'lit 'Dotdrynl'n'p.'D'
    ,1,^ ,. ..., • ^^-:: • y •••:':• Sow pit .Co py- V : ; r ; : '•:"• [v; 7. X..•-.•'•^7-''•: . —^Z - ••'•"•—-".' v'V ••'•/:-••;;•,~J ?t^;. ::::..,•:, ,V ' • •'•ti, ••••- •• '••'/... The New44«wspap«f BeUeiL ••'-•' ••. •-.-. Jh ••• : : Pi ; ; •'>'-: >>•.'•••7• .77'':;:"•>>,;.;;.7" ' /.-•W'7:.- ^~r:.". „•7:.:.7 :- -2 \t .•.'• i - .•:•*•••' •y^rmf^^:^::^-^^,:^ •;,,<,.. 1 : : >y> : )AY/JUEY-18rlfl63\;::v-.;^; •••'. '{;•, '•• '^yO.$V. - " •'" :•'/':•;••:• .'- ••/, ".'' ,•' •''•'" ;VOc per copy,.;; ,''.v a^m1;.),^M..;ii:;: •• ;,i_ v,^^^^^»^ifey^^fi.i^ ' '' .:•'• : •.•.• ing bridge Football Area e in Spring^ FalkirY-M^keJ'Plea; ' sHBoririgs OKd E|'%^rk^.uV'':::- '.-V'; - ;^;l^^H "zSee'k Support Frgrn...'..,•:.'l..ilf. v ;';•' Park Cpmrnissio,n_/ mHorx ff'. ' •Snririn'flnl'ri' '• /iConiitriicttnn of a -.,Bfld((e inrty'snd-Arr-fir|flimril Board o) ' . '. over'the nahway River* _wMcjn Ctif.Mn•• sn>V P.VP IrtVyc-Tjl)*-'."^ -jt WIN lead, to the" widening nlulil/in-.lbif •pi'ip'iNltliin "W ••• ' •' Mllltown". rd. In 3r>rlngflelH -nnd' liuliiiiB^iriMi;!'' fff/nri. -ni.id in.'itn;—' Union "will not tafiltUbefortUalo. inln impi'in'i>nn,'iir'nint' niiilnjnn' • . 1 sprinng ~fyM,fy, accordin g JJo a liiji'i!. of. HIP MI\IKI?I nv.p.Jleld W '-j— "SV/i.' ." ': J for (hi rounly Ti\jtfl • ••• ;•) ggJccMnan for (hi rounly- iTi\jtfl- K|>i'in(!fn'-ld," nidi im•.(•'c.iaxjnii «d- , fieer'n office.;"".... ";• •• dillOMfll~>,ffVfiif"a1)d-,t.i)onff,yy,fi'i^™';-^-':-- ^4VV'W by the ihii-Unirin CViunly, Parl< -CninmU- *''V i ; Bar.} T^eeholriers •. : ; ha*B not, benun arid' th& bri'dge Llvlnwilitn '• lii'' ^nnnHje designed nnttl fh» Iv ilaafe7:;.:a ; i»q of soil irt'thB^rea'lit 'dotdrYnl'n'p.'d'. A.tl ,t: b'f •lBj\WrfSftt.ill., Newark,' Wfow- n'rinyion"- my.
    [Show full text]