I väntan på Krilon

The story behind the tune.

Some time before I started my studies at NoFo I read a trilogy of novels by the Swedish author Eyvind Johnsson, called ‘the Krilon trilogy’. The were written and published 1941-1943 and in short, they form an allegory about the small (good) man’s fight against the evil in the world. Krilon is fighting a sort of war on his own, against evil powers who turn his friends against him. And he never loses his faith in man, and he never stops believing in the power of words and the power of being human towards each other. I got really inspired by the books, and the main character, Krilon, became some sort of hero for me.

 The composing

After a while I thought I wanted to compose a tune in honour of Krilon, and I gradually worked out an idea for what kind of tune it should be. I had the image of Krilon being a quite short and sturdy, with a good heart and a gentle mind, though a bit stubborn. In the end I thought I would capture that in the shape of a schottis in g minor.

This idea was growing ans slowly developing in my head for quite some time, and then one day in Helsinki I sat down to compose it. Since I had this quite strong idea about what I was aiming for, I thought it would be quite easy, and to begin with it was. To reflect the stubbornness of Krilon I wanted an ostinato to go underneath the tune and that came to my mind quite fast.

Krilon ostinato

I recorded the ostinato on my Zoom H2, created a loop of it and started to play on top of it.Out came a tune, but not at all the tune I was aiming for.

When I realised what had happened, the tune got its name quite naturally: Waiting for Krilon (Swe: I väntan på Krilon).*

More story

After composing the tune, I tried to describe what is in it:

“Krilon represents the good in mankind. Not because he is without faults or in any way perfect, but because he is always striving and believing. He believes in the good in humans; he helps them being good just by believing in them. He is the one that forgives us when we do wrong and who guides us to road we really want to walk. And it’s not about religion, about any god or salvation. It is plain damn human compassion. Krilon is the friend who is there when we need him.

And so we are waiting for him. It is a waiting full of hope, but also a waiting filled with reflection, thoughts about our faults and failures, but filled with hope, trust and belief in ourselves.

Krilon is the honesty, openness and trust we need in our lives. The tenderness, sensitivity and firmness.”

This has developed over time, as we have been playing it live and I have been telling parts of the story to the audience. I am still searching for the best way to describe the story behind the tune, the story of Krilon, and why he is such an inspiration, but for each concert I think I’m getting a bit closer.

Playing the tune

The tune is interesting, since I think it’s the first time that I’ve composed a tune that is so obviously a tune for listening. And it provided a good challenge for me, since I really had to work with other aspects of music than I was used to. First of all, I got to play lead throughout the whole first half of the arrangement, and most of the time being the only one playing the melody. This in itself was quite new to me, since I tend to play a lot of harmonies, second voices and accompaniment otherwise. Gradually, I also began to understand that this type of tune, which doesn’t build on a dance groove, but rather on long melodic phrases, demands a completely different approach to playing it. Had it been a year earlier, I think I wouldn’t have dared to play the tune, thinking my playing wasn’t good enough for this kind of tunes, but now I thought it to be a good challenge.

Still, having played it now for about half a year, I still feel I am very much in the beginning of understanding how to do it justice and I still feel there are a lot of things I need to develop and work with. Tone is probably the main thing, since I am not too happy with my tone on the fiddle, especially not in the higher registers. Intonation is another aspect which I also need to work a lot with.

However, this kind of tunes does not only provide demands and challenges, but also possibilities. Having the constant, steady, ostinato going underneath, the beat of Time as we like to think of it, there is a lot of freedom to really shape and stretch the phrases, dynamically as well with the timing. When it works, I get the feeling of floating, being carried by the others in the band.

Video from a performance during the Nordtrad Conference in Vilnius, april 2013

*Those familiar with 20th C literature will easily understand where I got the inspiration for the title.