Music is an incomparable ability to put songs in us. Kerstin Ekman says in its summer programs, beautiful and unsentimental, about his childhood live music and how it has affected her.
If I hear a good song , or bit, as a young Kerstin Ekman would say, so I can look it up on Spotify or YouTube and listen to me less.
When Kerstin Ekman was a child and heard a piece on the radio that she liked so it is a one-time experience. But sometimes bought her mom notes on the piece and they could then play it themselves at home.
In its Summer Program says Ekman about a lost world, the acoustic world as she calls it, then the music you had to to life essentially was living.
Ekman grew up in a home where the live music – dad’s singing, mother’s accordion and communal singing – was very present and a way to socialize. She also points out that at the time – we’re talking 1940′s and -50′s – also had little towns such as Katrineholm a very rich cultural life, with several choirs and other cultural associations. In addition, the family went to Stockholm and went to the opera; it is clearly heard as indelible impression “Madame Butterfly” did. She herself, who, despite his musical parents were classified as not very musical, had piano lessons when it was part of a petty bourgeois upbringing.
There is an art to be able to tell of a bygone era, especially his own youth, but to become sentimental. Kerstin Ekman mastered the art. Her stories of quartet singing and grog on the parents’ summer cottage porch, ice dancing and loves is fine but it does not sound like she wants back. It is past time, simply. Perhaps it is because of the music – because even if the “acoustic world” is gone, so one can still look up the live music. And Ekman does just that: listen in churches and concert halls and sings herself, when she walks in the woods. Those who sang on the porch of her parents may long since be dead but the music will survive us all.