Jorun Marie Kvernberg & Øyvind Sandum
Tidens løsen (Ta:lik)
cdRoots Code: talik2-110
This CD collects some of the many dance tunes from fiddler Ole P. Blø’s (1920–2010) repertoire. Ole grew up on the farm Blø on Midøya, an island in the municipality of Midsund in the outermost part of Romsdalsfjorden. He grew up in the midst of a highly active fiddlers’ scene. Gamaldans (Central European dance forms brought to Norway in the mid-19th century, e.g. polka, reinlender, waltz, mazurka) was the music at the time, accompanying the locals at dances and weddings and providing entertainment.
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This CD collects some of the many dance tunes from fiddler Ole P. Blø's (1920–2010) repertoire. Ole grew up on the farm Blø on Midøya, an island in the municipality of Midsund in the outermost part of Romsdalsfjorden. He grew up in the midst of a highly active fiddlers' scene. Gamaldans (Central European dance forms brought to Norway in the mid-19th century, e.g. polka, reinlender, waltz, mazurka) was the music at the time, accompanying the locals at dances and weddings and providing entertainment.
When Ole was young, he was strictly forbidden to touch the precious fiddle owned by his father, Peder Olsen Blø (1883–1957). But in 1930, Ole's father was out fishing all through the winter, and little by little tenyear- old Ole stealthily taught himself to play. His grandmother, Ane Marta Pettersdotter Blø (1860–1944), heard the young boy trying to play the fiddle. Although a highly religious woman who considered the fiddle a sinful instrument, she was also musically gifted and couldn't resist correcting his mistakes and helping him learn how to play. When the fishermen came back home in the spring, Ole had taught himself enough to convince his father to let him continue playing.
From that day on, Peder was Ole's teacher and musical companion. Later on, Ole came to meet many musicians, and accordionist Jonas Nygård became his regular partner. Together, they made a lot of great music both for dancing and local entertainment. Today, island communities are often considered isolated. But in earlier times, most of the main traffic arteries were at sea. Ole could tell of ships coming in to the islands for shelter and remaining there, weather-bound, for weeks on end. The sailors brought with them different cultures and music from other small communities. In the innermost parts of the fjords, this did not happen until much later. Ole also told stories of unrigged ships coming in from Bergen, Stavanger and elsewhere during the latter half of the 19th century to harvest the 'silver of the ocean', the herring. They often had fiddlers on board. Local fishermen, too, travelled far and wide to the North and South, bringing home a lot more than just fish. This is how the modern dance forms, the round dance, came to the islands. Ole worked as a fisherman and farmer, with his fiddle as a life-long companion: 'The fiddle has meant a great deal to me. It kept me company when I was alone. It has happened that I've been at work and a tune has come to me, and I've had to play it! I used to sit down just to play, too, but that was when I was younger.
Even so, I still have the fiddle close at hand, and I play it sometimes when I want to try out a tune. These old tunes that you've heard sometime in the past keep cropping up. I'd say the fiddle has meant everything to me. I've never regretted playing. No, really, I'm glad. I love my fiddle! Heh heh! Yes, I do. So it'll accompany me to my grave.'
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