Sven Donat polska - Baroque VS Swedish Folk Music 

With the Baroque and Renaissance era also came the secularization of music throughout Europe. Farmers and other workers had more opportunities to overhear melodies and styles by composers abroad, go home, and try to replicate it on their fiddles. Also protestantism incorporating colloquial melodies and native languages into church services created a recurring communal event where everyone would be inadvertently practicing and recreating these tunes together, solidifying them as local culture. Thanks for this video Emilie :)

Absolutely fascinating, thank you. And brilliant English! ❤👍🎻

You play so beautifully. Thank you for sharing your musical historical knowledge too. It is very interesting how many connections there are in the different types of music.

Toco la guitarra criolla, pero soy un aficionado. Eres una excelente maestra, entendi perfectamente la diferencia entre folklórico y barroco. Feliz por el crecimiento de tu canal.

Stort tack för denna mycket informativa video!!! Måste titta några gånger för att absorbera allt!

I prefer the swedish Folk cake and will immediatly take a bit. Thank you for the nice tune! I will learn to play this one on fiddle and mandolin....

This is so good! Going to play folk style on my fiddle and bouzouki. Thank for this amazing video!

Funny i have never really thought of it as Baroque. I have played this melody many times both in Gille and Folkdance group and pictured 1800's fancy dressed people dancing pompus with a lot of bowing and armgestures. Come to think about it, so called "slängpolska" a polska played with a regular beat but irregular bow-strokes sound a lot like baroque music. But you really gave the touch of sound in this video for it.

Dankeschön 😊 das wird mein nächstes Lied auf der Fiddel 😊 auf Tagelharpa werde ich es auch probieren.

I’m very excited to go over this again and think about baroque vs. folk.

Your comments about not lifting the bow, keeping a constant sound, using drones and playing as loud as you can, reminds me of some recordings I heard from one of my friends, who spent the 70´s bicycling around Himmerland and Vendsyssel in northern Denmark and recording the old "spillemænd" (folk musicians). Especially a recording of Fredskov Iversen, who was a fiddler, and was taught by his grandfather, who in turn was taught by the legendary Svenske Niels, who was an immigrant from Skåne, who lived in Northern Jutland and composed many tunes. In these recordings it´s very clear that he tries to maximise the sound produced by his violin, and is constantly using more strings and playing in an almost rough manner. It´s a sound which is rarer now in modern Danish folk music, maybe because people play in ensembles or with amplification now. Back then, a musician was expected to play for a whole nights ball all by himself, projecting the sound all the way through a barn.

Thank you! Now i now what i will do today ! 😀

I'm just learning viola, and playing with a group that is primarily Baroque. This explanation of ornaments is fascinating. Thanks!

Fint foredrag! Hadde lett kommet til et auditorium for å høre på sånt. I play guitar, but I chose a similar, tentative, way to specify the difference between the baroque tunes intended for performance in a court, and a baroque tune intended for a street-performance. Because there are a lot of hints, at least sometimes, to that a lot of the baroque music, even after Bach -- that we have later come to think was completely separate from any kind of folk or street performance -- actually is just joined at the hip. It's as transparent that the Chittarone, that Kapsberger writes and plays beautiful renaissance-music on, intended for royalty and pomp -- is actually the same instrument as the Theorbo, the "vulgar" Turkish-inspired tavern and street instrument. Meaning that although modern classical musicians often treat baroque music as if it is flat and ornamental-less, only based on phrasing, with the resting notes having a scientific fractional relationship to the note-values and so on - the relationship between the street and the court is obviously a lot closer than that approach would give you. So it's interesting to hear another perspective on this that points out why this is more of a sliding transition between the one and the other, or a slang variant of the same language - than it is a different discipline or type of music altogether.

I'm sure I heard/read somewhere that Johann Hedin 'forgot' this tune but remembered it - it's on the Live Concert In Paris record with Erik Pekkari and Pelle Bjornlert - and that's maybe how it got the name...? Wonderful video and such a lovely tune 🙂

Carrot definately (as long as there are no raisens) but then I don't eat fruit so it's an easy choice for me.

I've heard Johan Hedin take credit for the name quite a few times!

@26:16- Superb quality education for both, "Artists, & Non-,Musicians' (myself the later)"! 5⭐. ⚠️@ 02:39-02:44 (text on-screen displayed; [time]) is too-short to read/ by those with vision limitations. Please in future- allow on-screen texts to display for 7 seconds ⏯️

I really loved this video: very informative and fun to watch.🎉❤ I'm always try to figure out ways to translate ornamentations to the English concertina or the very recently bought button dragspel. Do you have any idea? I know you're not a fan of squeeze boxes, though. 😅

Interesting. I am primarily an Irish style fiddler. I am learning Swedish tunes on my Nyckleharpa. I can't help but twist the Swedish tunes toward celtic. I do so enjoy the way folk music evolves with each player. The dynamic of bow pressure and speed. Ornamentation. I miss being able to slide up or down the fingerboard on the Nyckleharpa like on a violin. As well as "baring" a chord across multiple strings with one finger. Thank you for your insights and technique demonstration.

118 sure rocks :D

Very interesting video! I like how you showed the differences between baroque and folk music. I have a rather classical and Irish kind of musical background (though I’m not Irish but I really like Irish music) and I play the piano and the tin and low whistle. This is why I’d probably add Irish ornaments even to a Swedish tune but only because I’m more used to the Irish style. I probably should watch your ornament video which I will do. Keeping the melody going on the piano is possible by using the pedal I think though it’s rather a percussive instrument in that sense. On the Irish whistles it’s not that easy because I would probably have to create a continuous air stream by applying circular breathing which I never tried so far. But I heard that there are also similar instruments in Sweden. Do you know how it works with these? That would be very interesting.

Great video and tips as always and fun with the outfits! I immediately thought of Lisa Rydberg and Gunnar Idenstam's album 'Bach på Svenska'. Have you heard it?

Nice sakpipa sound

you can also do a video baroque vs cretan music

I first thought it was polka. What I am also wondering, if it has any connection to Poland, or what is the origin of the name, because for a Slavic ear it sounds exactly like "Polish"

Nice. Thanks. Several of Eric Sahlström's songs were clearly influenced by classical music. My opinion, which of course could be wrong... Nice channel

Ik wou dat ik het kon! Blokfluit spelen lukt no wel

Hi! Is there anywhere we could contact you about potentially playing on our concept album?

The difference is that, back in the 1700's, people were so baroque, they started lutting in the streets

Always be yourself. Unless you can be bagpipe. Always be bagpipe.

No way I can choose between carrot cake or blueberry pie.

Vikings!!!!

2 set violin.SEE this.