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Statements

Subject Item
dbr:Sven-Bertil_Taube
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dbr:Så_lunka_vi_så_småningom
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dbr:Så_lunka_vi_så_småningom
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Så lunka vi så småningom
rdfs:comment
Så lunka vi så småningom (So we gradually amble) is a song from the Swedish poet and performer Carl Michael Bellman's 1791 collection, Fredman's Songs, where it is No. 21. The song, written a few months after the death of his son Eli, is addressed to his hosts at a meal. It makes light of death, while presenting it to each person individually, of high or low rank in society. The refrain sings of a pair of gravediggers discussing whether the grave is too deep, taking repeated swigs from a bottle of brandy.
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dbc:1791_compositions dbc:Swedish_songs dbc:Fredmans_sånger
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n15:Fredman's_Song_21_Så_lunka_vi_så_småningom.jpg?width=300
dbp:alt
Sheet music
dbp:caption
Marche, 2/4 time
dbp:composed
1786
dbp:filename
CMB SG21.MID
dbp:imageUpright
1.2
dbp:language
Swedish
dbp:melody
May be from Naumann's
dbp:published
1791
dbp:scoring
voice and cittern
dbp:text
poem by Carl Michael Bellman
dbp:title
Melody of Fredman's Song 21
dbp:translation
So we gradually amble
dbp:type
dbr:Art_song
dbp:written
December 1787
dbo:abstract
Så lunka vi så småningom (So we gradually amble) is a song from the Swedish poet and performer Carl Michael Bellman's 1791 collection, Fredman's Songs, where it is No. 21. The song, written a few months after the death of his son Eli, is addressed to his hosts at a meal. It makes light of death, while presenting it to each person individually, of high or low rank in society. The refrain sings of a pair of gravediggers discussing whether the grave is too deep, taking repeated swigs from a bottle of brandy. Bellman's biographer Lars Lönnroth writes that Bellman takes an existential look at life in the song, comparing the tone to the monologue in Hamlet where the prince laments, holding Yorick's skull in his hands, though this does not prevent Bellman from describing the usual drinking and gallows humour. The musicologist Richard Engländer calls the song especially interesting for its use of a march from a key moment in Naumann's opera Gustaf Wasa: the King's nocturnal monologue in his tent, where he debates whether to capitulate or to fight. The melody's military associations are reworked into a song of contempt for death.
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