In this example the painter gives us hints that he knows full well what he is depicting – Please notice that both piper and woodwind player are making identical cross-fingerings, which adds to the authenticity of what Rissanen is depicting.Ĭuriously enough, both the fiddler player and the woodwind player appear to be left-handed. However, Patrik tells us of other sketches of other pipers, made by the same author while living abroad. On the other hand, as often is the case in bagpipe iconography, we cannot be certain of the author’s familiarity with all the subtleties and details of piping. This would not be unlike other ancient world bagpipes, where the piper is forced to rely on tuning the reed exclusively. We cannot identify if the drone is being used in the “fully closed” position or if it lacks tuning slides.Īt first glance it appears to be a single piece drone, which would naturally prevent the piper for comfortably tune the drone. We may guess with a fair certainty that the drone ends with a closed bottom, hollow resonator. Both the chanter and the drone have very pronounced bell like ending. The bagpipe may clearly be identified as a mouth blown, single drone instrument, with a conical chanter. However, the bagpipe is unobstructed and clearly visible. The observer’s perspective of both the fiddle and the woodwind are partially obstructed by trees in the foreground. In the fresco, one can clearly see a fiddle player, a woodwind player (Unlikely a horn, but whether flute or reed instrument is to be determined), and clearly a Piper. The meaning: to ensure the fertility of the village fields ![]() Young girls will procession through the village singing old runo-songs with medieval themes. It happens in early summer and displays characteristics that range from paganism to catholic prayer processions. On the whole it portrays the centuries old tradition of “Helkajuhla” or Helka feast in Sääksmäki Ritvala village in the Tavast province. ![]() In picture 1 – “Kolme soittajaa” (Three players) – the 1928 sketch intended as a study for the future National theater’s fresco, produced that same year (picture 2). Patrik Weckman, a recent member of our growing Finnish piper’s network, has brought to our attention an interesting artwork by the painter Juho Rissanen (1873-1950).
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