The origins
and history of the student orchestra culture
By Anders
Carlsson
[Edit: Some of the information in this article is obsolete, especially the parts about the 19th century. For a better summary of the origins of the student orchestra culture, look here.]
This article was originally published in Uplands
nation’s paper UNB, the April issue of 2016. The following is an English
translation of that article with some additions to make the context more clear
to non-Swedish readers and some factual errors corrected.
Throughout the article, there are some expressions
used that are so deeply rooted in Swedish and student language and culture that they need to
be explained here, as they don’t have exact English equivalents.
Studentikos – “studentious”:
This describes something that is typical of the lifestyle of students. You
could say that studentious things make up a subculture. Studentious traditions
are upheld in student unions, student nations, and other student associations,
which of course include student orchestras. Studentious phenomena are generally
happy, lighthearted, and don’t take themselves too seriously, although they can
vary between conservative and radical, formal and relaxed, sober and drunk,
elitist and equal. Studentious humor occurs in student orchestras, spex, papers
and drinking songs and is usually rather low key compared to other forms of
humor, and is characterized by wittiness, puns and constant references to
science and social debate. During the radical era of the mid 60’s and through
the 70’s much of the studentious culture vanished from Swedish universities
(student orchestras did not), but during the 80’s and 90’s it grew back up
again and spread to many newer colleges.
Spex: From Latin
“spectaculum”= scene; show; theatre. A form of studentious theatre. Describing
it would require its own article. "Spex" can also refer to any humorous or stupid antics aperson does to get attention.
Ballet: Doesn’t mean actual ballet, but refers to the
dancing troupes that perform with many orchestras. The closest English term is
“drum majorette”, but the ballets have taken many influences from swing
dancing, show dancing and even cheerleading. The student ballets make up their
own unique studentious tradition. They most likely have their origin among the
dancers that used to perform in the student revues starting in the 1950's.
Student carnival: The student
carnivals are also a long standing tradition, especially at Lund’s university.
There is also one in Stockholm, arranged by the Royal Institute of Technology.
This tradition goes back to the early to mid-19th century, when
there were also carnivals in Uppsala.
Folklig - “popular”; in the sense
of being enjoyed and appreciated in all layers of society, often with the
exception of the upper class.
Folkrörelse – people’s movement:
(often translated as “social movement” in English). An organization of very
large groups of people, often from the working class and middle class. People’s
movements are based around political and social issues. Important examples of
Swedish people’s movements include The Labor movement, trade unions, consumer
co-operatives, the temperance movement, sharpshooting movement and a number of
churches, such as the Salvation Army.
Finally, something must be said about student
orchestra names. They are often written in a studentious way, using bogus
19th century spelling. They can be sorted into two categories. The first
category includes clever puns with references to musical terminology, such as
“Kruthornen”, “Kårsdraget”, “Isterbandet”, “Snösvänget”, “Blåslaget”,
“Tupplurarna” and “Hornboskapen”. The second category is made up of names that
are complex references to the orchestra’s origin or affiliation. This includes
“Alte Kamereren”, “Mercblecket”, “Osquar Mutter”, “Allianceorchestret”, “LiTHe
Blås” and, of course, “Wijkmanska Blecket”.
The foreword of the original article:
If you have been a member of Upland’s nation for a
while you have probably seen and heard the nation’s own student orchestra,
Wijkmanska Blecket. A motley crew of musicians who play outdated music in
weathered sailor suits decorated with medals and patches. To top it off, the
orchestra performs “tricks”, a kind of wordless spexes with simple props, often
with sticky or explosive content. Is this something unique of Upland’s nation?
Is it the open and welcoming nation taking excentric musical marauders under
its wings or is there something else to it?
And so, our story begins…
All orchestras composed of students are not student
orchestras and student orchestras are not composed exclusively of students. The
word “student orchestra” is defined in Nationalencyclopedin (“The national
encyclopedia”) as
“an orchestra
composed of active and former [university] students who perform wind music in a
studentious spirit; with a repertoire consisting of humorous arrangements of
famous musical pieces, performed with uninhibited joy of music. It is
characterized by the colorful, decorated uniforms and the well trained ballet”.
The student orchestra tradition is a very old and
uniquely Nordic student tradition. Older than the spex, whose performers
usually brag about how old the roots of their tradition is. It all started in
Uppsala.
In 1828, the year isn’t known with certainty, Turkiska
Musiken (“The Turkish Music”) was formed. They were a group of musicians who
roamed the streets of Uppsala during nighttime, playing a peculiar style of
music in a not entirely sober state. Their setting contained among others
piccolo flute, violin, guitar, bassoon, cello, clarinet, trumpet and French
horn. Their repertoire included contemporary hits like “Slumber sweetly”,
“Hulda Rosa” and the “Turks’” own favorite “Let us enjoy the short time now,
let us savor it every minute” from the opera Fra Diavolo or the Inn of
Terracina. The aforementioned instruments were only used as long as the society
remained indoors. Out in the streets, they were exchanged for whistles, pot
lids, fire stokers, gongs, triangles, ratchets, ocarinas and keys. According to
legendary Uppsala poet Gunnar Wennerberg, they were “handled not without a certain skill, but no less unwelcome, wherever
they were heard.” We can only guess what the Turkish Music actually sounded
like, but according to one of them “this
music was not only unbearable, but also posed a mortal danger for the
musicians, but without it they could not survive as a society.”
So how did they come up with the name Turkiska
Musiken? Turkish music was the popular name for janissary music. The
Janissaries were the elite soldiers and personal body guards of the Osman
sultan 1365 – 1826. In battle they always brought along large orchestras who
played powerful, loud military music with loud drum beats and horns to achieve
ecstasy and frighten their enemies. Turkish music, or at least what people
thought was Turkish music, was very popular in Europe around 1800. It was also
an inspiration for the western art music at the time. Janissary music is also
the origin of modern military music. When the “Turks” took their name, they
probably did it with both humor and as a reference to music terminology, just
as today’s student orchestras.
According to a common myth, Uplands own Svante Wijkman
is supposed to have been a member of Turkiska Musiken. As much as we would like
this to be true, it is highly unlikely. Svante was a high school student at
Katedralsskolan, and in the spring of 1837 he was taken up as one of the
school’s “superiores”, what we today would call “straight A students”. The
members of Turkiska Musiken were quite the opposite. Turkiska Musiken gathered
for the last time in 1835, when Svante was 14 years old. The identities of everyone
present then are known, and svante wasn’t among them. There were a pair of
brothers by the name of Wijkman among the members, Sven Wilhelm and Caspar
Anders. They were Svante’s cousins, and as Svante’s full name was Sven Johan
Wijkman, it is quite likely that later retellings of the story have mixed him
up with Sven Wilhelm, especially as they both suffered somewhat unclear fates.
Svante, Sven Johan, died in 1837, probably from some disease, and no one knows
where he was buried. Sven Wilhelm left for America and is supposed to have died
in a battle with the natives. Caspar Anders Wijkman is buried in V-Dala’s old
nation grave.
As stated before, Turkiska Musiken disbanded in 1835.
One of the members, Carl Edvard Zedritz, wrote two books about the group’s
adventures. They’re both hilarious. Carl Edvard Zedritz later became a
professor of Latin.
It will be another few years before we encounter the
next milestone in the history of student orchestras. Before we arrive there,
though, it is relevant to have a look at the zeitgeist of the earlier half of
the 19th century. This was the time known as “the student romantic
era ”. At the start of the 1800’s, students were poor, at best struggling to
finish their degrees, and at worst drinking and terrorizing the bourgeois. With
time, the student lifestyle changed for several reasons. To begin with, this
was the rise of the scandinavistic movement. The scandinavism was a movement
rooted in the cultural, geographic and historical ties between the Scandinavian
countries. Students became known as the champions of the scandinavistic
movement which in turn led to student becoming popular among the common
populace in a way they never had before. Student opinion became important in
national politics and student got a new, independent social standing. Student
life became considered as a special life style with its own rules and
conditions. Nation feasts, Valborg celebrations and other student occasions
were reported in the newspapers. The lofty student student life was expensive,
though, and could be disastrous for the students’ economy. This led to “the Vigilance”
a shady money lending business, which often meant that students took a
short-term loan at a high interest, spent the money on partying, then took new
loans to pay for the old ones. In 1851, Aftonbladet revealed that Sparbanken in
Uppsala and Mälarbanken (banks) had for some time run a large business with
student loans. In 1850 alone, 50 000 SEK was lent to students. That’s
almost 4 million SEK in today’s rate! The high school reform at the time also
led to a sort of democratization of the student life. Now others than only the
sons of priests and noblemen had the right to study at high schools and
universities. That led to a new sort of camaraderie across the societal
boundaries that changed the identity of the typical student. Maybe the most
important fact is that by the 1830’s the present 13 nations had taken their present
form, and started getting their own nation houses. Upland’s nation got its own
house as early as 1824. All the factors stated above contributed to an
increasing interest for clubs and associations among students in the 1830’s and
40’s.
In 1843 the next big event in student orchestra
history took place at the Hörlin yard, located at the crossing of present day
Öfre Slottsgatan/ St Olofsgatan. The upper floor was rented by Snerikes nation,
and there the student orchestra that is today consider the world’s oldest was
formed – Hornboskapen. Or at least that’s how the story goes. The only known
details about music at Snerikes that year is from a description of a summer
trip to Flottsund (Uppsala southern end) were nation members in Bellman
costumes sang and played. On the other hand, Snerike’s bookkeeping from 1843
clearly lists repairs and purchases of brass instruments. Witnesses report the
participation of a brass band from Snerikes at the may carnival of 1845. There
is evidence of a long tradition of live brass music at Snerikes during the 19th
century, but the only thing known for certain is that the brass instruments
owned by the nation were used. It is not known by whom, if they were any
lasting ensemble or even members of the nation. Any orchestral activity at
Snerikes stabilized in 1906, when gun sergeant Albert Gille from Upplands regiment
was hired as musical leader. He turned the musicians at Snerikes into a real
orchestra. The name Hornboskapen was first used in 1910.
The sources mentioning any other student brass bands
are sparse for the rest of the 19th century, with a few exceptions. Smålands
nationskapell was formed in 1869 as a chamber orchestra with a brass sextet
that could perform on its own. It performed on occasions well into the 20th
century, but very little is known about them. Smålands’ present student
orchestra, Glasblåsarna, claim to be the heirs of this ensemble.
The story of a similar orchestra at Norrlands nation
is known in greater detail, and was discovered by chance in the mid 1980’s,
when the nation had a cleaning day and was about to throw away a couple of
boxes of music scores. The scores were saved by music enthusiasts at the nation
and after some research, the existence of previously completely unknown student orchestra was revealed! In 1862,
Norrlands nation formed a larger classical orchestra and along with it a brass
quartet by the name of “Blåsargesällerna” (lit. “the wind journeymen”, but it
should interpreted as “the brass boys” or something like that).
Blåsargesällerna were acknowledged in Norrland’s studentious paper Bergufven, who both jokingly and
enthusiastically stated that the members of the nation finally could enjoy
music outdoors. Remember, this was in 1862 and recorded music and radio was
decades away. Bergufven kept
reporting Blåsargesällernas activities in a way today’s student orchestras
describe themselves, and with that, there is finally some evidence of an
orchestra with a studentios name in a studentious context. A student orchestra!
In 1864, a gun sergeant Karl Dillström took over the leadership of both
ensembles at Norrlands. Military musicians were very important in the
development of Swedish music life, as we shall see.
In 1867, the newspapers Upsala posten and Tidningen
Upsala reported that the students sharpshooting corps had been training
with an music corps formed by members from the different nation orchestras. We
can safely conclude that they had musicians from Norrlands and Snerikes, but
were there any others? That is yet unknown.
The brass bands from Snerikes, Norrlands and Smålands
nations are a few precious examples of instrumental music among students from
the 19th century. They have been charted by hard research work,
because the mentions of instrumental music among students during that era are
very sparse. It is possible that information on other ensembles has been lost,
since all kinds of organizations are eager to hold on to bookkeeping, whereas
music scores are often considered disposable.
Of course there was a lot music going on at the
nations, but it seems to usually have been dance music on piano or strings in a
more serious context.
Among students, the spoken (and sung) word became the
most important medium in the latter half of the 19th century. Choires
sang about politics and conflicts while the spex became a popular medium for
satire and entertainment. The first spex is said to have been written and
performed at Stockholms nation around 1850. The word “spex” is first mentioned
in written text in 1863. Instrumental music seems to have taken a secondary
role. It is not difficult to imagine that that the student orchestras
eventually took some inspiration from the spexes as their performances became
more show like, but that didn’t happen until the 20th century.
In 1948, the silence was finally broken with the formation
of Allianceorchestret at the Chalmers University of Technology in Gothenburg.
During the 1950’s and 60’s student orchestras started appearing at all major
colleges and universities in Sweden and the other Scandinavian countries. (Except
for Denmark. No one has ever heard of a Danish student orchestra.) Why did this
all happen so suddenly at that specific point in time? The answer is most
likely to be found outside of the university world.
The Swedish wind music tradition is imported from
England from where it came along with religious and political movements during
the 19th century. Essentially all of the big people’s movements of
the time had their own brass corps: the trade unions, the sharp shooting
movement, temperance movement, mill towns, the Salvation Army and other
churches. They all hail from a time when enthusiasts with liberal and
philanthropist ideals sought to give the working class an education that would
at the same time be a form of pleasure. These brass corps were primarily taught
by military musicians supplied by the army. These military musicians eagerly
took the chance to earn an extra income and thus became Sweden’s first music
teachers for workers, and they would continue to do so into the 1960’s. The
brass corps were intended as a place where “young
people, after leaving the work place, can gather and have a both pleasant and
educating pastime, through which many temptations of sloth an immoral
activities can be avoided.” The result was one of the largest musical
cultures in our country’s history. The corps became very popular and were often
recruited to play at weddings, public openings, May 1st parades as
well as giving public promenade concerts in parks to entertain people passing
by. This was long before radio or recorded music, so these bands were the only
common source of popular music. The Swedish people’s interest in enjoying and
performing music increased enormously during the latter half of the 19th
century. Since this coincided with the industrialization and urbanization of
Sweden, wind music can be described as the popular music of the urbanized
working class – it is what we call “folklig”. Folk music was considered rural
and outdated and classical music was for rich people.
In 1939, the Swedish Music Publishers Association, the
Swedish Music Dealers association and STIM arranged the Week of Music. It was a
festival intended to get more people interested in playing music. In 1941, Musicfrämjandet
(the society for promotion of music) was formed by among others prince Eugén,
Hugo Alfvén, Kurt Atterberg and Alice Tegnér (all famous musicians and
composers). In 1945, the Week of Music and Musikfrämjandet merged into a single
organization. The labor movement, who had a long tradition of wind music, became
a partner and The Swedish Trade Union Confederation (LO), the Federation of
Consumer Co-operatives (KF), and the Social Democratic Women’s Association gave
yearly financial contributions. With this, the music got a more popular
(“folklig”) orientation rather than classical, which benefitted the wind music.
In the mid-20th century the Public Music
School (Kommunala Musikskolan) was formed, partially to favor classical music
over contemporary pop music. During the 1960’s, the Public Music School became
huge, which probably contributed to the golden age of student orchestras during
the 70’s, 80’s and 90’s, but let’s not get ahead of ourselves. The Public Music
School often hired military musicians as teachers well into the 1980’s.
The post WWII era brought with it large educational
reforms that gave youths from all layers of society the opportunity to study at
college. Starting in the 1950’s, children of the working class and people’s
movements started attending college to a much greater degree than before. They
brought their musical tradition with them, and when it met the studentious
traditions the modern student orchestra culture was born. The number of
students kept increasing over the following decades and led to the expansion of
the Swedish university system as well as the establishment of new universities.
This is the reason that Örebro, Växjö, Karlstad and Linköping are now
university towns. Of course they have, or have had, their own student
orchestras.
During the 1950’s, many of the oldest of the now
existing student orchestras were founded. The period between 1948–1965 saw what
I like to call “the first wave of student orchestras”. In 1956, there was a
student orchestra festival in Gränna. In 1958 the first ballet was formed. Promenadorquestern
(PQ) at the Royal Institute of Technology (KTH) had been founded in 1956 and
was at this time open only to male students, as was the case for most
contemporary orchestras. As the story goes, the girlfriend of PQ’s leader got
bored with only watching during the rehearsals, so she started a dancing
troupe. This is said to have been the case for other early ballets as well. During
the 50’s and part of the 60’s, joining the ballet was the only way for girls to
enter the student orchestra culture. There is however, one shining exception.
Hornboskapen in Uppsala got its first female member in 1933. Her name was
Ann-Margret Viklund and she played alto horn in HB 1933-43. Thus, she is
probably the world’s first female student orchestra musician. The student
orchestra world opened up gender-wise during the 1960’s, when girls were
admitted into orchestras and guys into the ballets. A few orchestras hung on to
the male only rule for a very long time. The last orchestra to allow female
members were Blåshjuden from Gothenburgs university – in 2004!
During the 50’s and 60’s, the student orchestra
phenomenon also spread to Finland and Norway. Due to similarities in culture
and history of the Nordic countries, the evolution of the Finnish and Norwegian
student orchestras probably mirror that of the Swedish ones.
During the 1960’s the student orchestras kept in touch
with each other despite belonging to different universities. They enjoyed
visiting each other’s concerts and jam together. Jamming in the student
orchestra culture has been documented as far back as 1955. Sometime in the
early 60’s, the Uppsala orchestras arranged the first BRUNK (from Swedish “brunkation”,
the emitting of animal sounds), an event where the orchestras in Uppsala and
usually Stockholm gather and play for each other. The next step in student
orchestra history was just around the corner.
In 1972, the student orchestras decided that is was
time to cooperate on a national scale. On December 2nd that year
representatives for different orchestras gathered in a hotel in Södertälje to
form “Riksförbundet Sveriges Musicerande Akademikers Samarbetande Kårorkestrar”
(The National Organization of Sweden’s Music-Playing Cooperating Union
Orchestras), abbreviated Riks-SMASK. It was also decided that student orchestra
music was to be defined as
“a humorus,
respectless form of musical performance, often performed in an academical
context, where the pure joy of music and not necessarily the musical
equilibrism comes first.”
Riks-SMASK has the responsibility of making sure
that the definition is honored and as far as possible spread the joyful message
somewhat obscured by these big words.
It was further decided that Riks-SMASK would arrange a
student orchestra festival the following year. Those attending the meeting got
out a map of Sweden and after meticulous measurements, they decided that Gränna
was the central point between their hometowns. Maybe the Gränna festival in
1956 had something to do with it. The problem was that Gränna didn’t have a
college, and it was a bummer to hold a student orchestra festival in a place
that had nu students. The solution was to cooperate with Linköping’s Institute
of Technology, now Linköping’s University, who were happy to arrange the
festival in order to get PR for itself and thus improving the chances of their
newly graduated engineers on the employment market. The institute didn’t have
its own student orchestra, so the student union took the initiative to form
Linköpings Tekniska Högskolas Blåscorps, LiThe Blås. The festival took place in
May of 1973 and became a standing tradition. After a few years the task of
arranging the festival every year became too much for Linköping’s student
union, so in 1977 it was arranged in Uppsala for the first time, in cooperation
with the Uppsala University’s 500 year anniversary. Since then it has been
Linköping every other year under the name SOF and every other year in Uppsala as
STORK. (SOF and STORK are just different abbreviations of
“studentorkesterfestivalen”) Linköping got the festival in both 1986 and 1987,
because of the city’s 700 year anniversary in 87.
The festivals expanded in size year after year and in
turn increased the interest for student orchestra music even more, among
students and public alike. This led to the forming of even more orchestras
between 1978 and 2001. I like to call this “the second wave of student
orchestras”. Everyone wanted to be at the big party. Wijkmanska Blecket is part
of this development. Blecket was originally founded in the spring of 1981 as a
temporary orchestra to entertain Upland’s honorary member Bengt Erik “Max”
Rydén on his 50th birthday that he was celebrating at the nation.
The musicians who played that day enjoyed it so much that they went on to form
a “real” student orchestra. Since then, Wijkmanska Blecket has become one of
the most active and well known student orchestras in Sweden, even outside of
the student world. More about that when the time has come to tell Blecket’s own
history.
With the expansion of the festivals, the orchestras
from Finland and Norway started coming to Sweden. A German exchange student
from Stuttgart who took part in one of the festivals was so impressed he
convinced his own university’s orchestra to get Swedish style uniforms! Since
then the Allemand Chaoten Orchester has been to every festival.
The mid 60’s to the mid 70’s were a time of leftist
student radicalism all over the western world, and Sweden was no exception.
During this time, studentious traditions such as balls, gasques, papers, spex
and carnivals were widely scorned among students and disappeared in many
places. Ironically, they were still appreciated and popular among the general
public. The student orchestras weren’t affected by the radicalism as far as I
have been able to tell, instead their golden age began in the early 70’s. When
the 80’s dawned, the interest in studentious traditions was renewed among
students, and the orchestras, who had carried on the traditions during the dark
times, became immensely popular.
The 70’s, 80’s and a good portion of the 90’s became
the golden age of student orchestras. Festivals, shows, carnivals,
anniversaries, tours, international meetings and all the happenings you can
imagine came and went as there was no tomorrow. A more liberal attitude towards
alcohol and everyday drinking led Pripps brewery to sponsor student orchestras,
who now bathed in money. Wanted your own tour bus? No problem. Record an LP?
Pripps payed for the studio time. Orchestras,
and also spexes, could tour around the Scandinavian countries to sold-out
venues.
During the 90’s though, things began to change and the
situation turned for the worse. The orchestras started getting fewer and fewer
members and when the 2000’s came around, several of them died out, particularly
at the smaller colleges.
The explanation in mainly the cut-downs made in public
music schools that were made during the 90’s, but also changes in student life.
Back in the day when the student orchestra culture grew, you simply had to get
involved in some sort of organization to have any fun during yours student
years. Students didn’t have much money and entertainment was expensive. There
was also the view, hailing from the student romantic era, that your college
years were something special, a unique experience , and you were supposed to
have fun during this part of your life. Nowadays, there is a huge offering of
all kinds of entertainment for students, at least in larger university towns.
Public attitude also changed. Culture journalists, who
had up to that point praised studentious performances of all kinds, suddenly
turned on them. Now anything made by students was considered bad, shoddy and
amateur-like by default.
According to entrepreneurs in the event business,
students today have more money than they had 20 years ago. This is mainly due
to the fact that more students have part-time jobs. They are prepared to pay
for their entertainment and have high demands on the quality of it. Part-time
jobs also mean less time for traditional student life. Today’s students are
also subjected to a lot more career stress than previously, by society,
universities and potential employers alike.
In the 2000’s, the future of STORK looked dark as
Kuratorskonventet (the Curators Convent, umbrella organization of the nations)
withdrew as financial backer. I 2004 a substitute festival was held in
Linköpings student union headquarters. In 2006 a handful of hard working
student orchestra musicians revived STORK and since it has taken place as it
should, though not always in the spring. SOF, on the other hand, has more and
more taken on the appearance of a regular Swedish town festival, complete with
beer tents, dance floors with DJ’s, laser game tents and you name it for the
“civilian” students. The students are allowed less and less space every year,
sadly at the request of some festival goers.
In spite of the down going spiral in recent years, the
audience love their student orchestras, and the musicians themselves will keep
on fighting until their last breath (or at least until graduation) to keep the
tradition going. In one way or another, the orchestras will keep entertaining
or upsetting their audience far into the future. Student orchestras have become
slightly more popular again in the 2010’s, so there is some hope for the
future. So the next time you hear (or play with) Wijkmanska Blecket, keep in
mind that this is not only the oldest continuous activity at Uplands nation, it
is also part of a much larger studentious subculture that is part of Uppsala’s
and Sweden’s history!
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Intervju med Lars-Olov ”Detlef” Jungner, 2016-04-16.
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upsaliensiskt musikliv 1810-1860. I Studenten,
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Erik Rydén. Uppsala.
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