His first Swedish album, Ballader och oförskämdheter (Ballads and rudenesses), was released in 1964. His first Dutch album was released in 1972, after ten successful Swedish albums.
He emigrated to Sweden with his parents in 1949 at the age of twelve. He was educated as a social worker and hoped to become a journalist, but became increasingly involved in music, performing at events for students. His idiosyncratic humor and social engagement is still gaining him new fans. Cornelis Vreeswijk is often considered as one of the most influential and successful troubadours in Sweden. In 2010 a Swedish drama film, called Cornelis, was made about his life. It was directed by Amir Chamdin.
Cornelis Vreeswijk explained in one of his few interviews that he had taught himself to sing and play in the fifties by imitating his first idols Josh White and Lead Belly. His first album, Ballader och oförskämdheter (Ballads and rudenesses, 1964), was a hit which immediately gained him a large following among the emerging radical student generation. In this period he also played with Swedish jazz pianist Jan Johansson and his trio. His songs "Ångbåtsblues" ("Steam Boat Blues") and "Jubelvisa för Fiffiga Nanette" ("Joyful song for Clever Nanette") are classics from these recordings. His abrasive, frequently political lyrics and unconventional delivery were a deliberate break with what he was later to describe as a Swedish song tradition of pretty singing and harmless lyrics, "a hobby for the upper classes". Influenced by jazz and blues and especially by the singing style and social criticism of Georges Brassens, Vreeswijk "speak-sings" his "insults", and compels his listeners to pay close attention to the words.
His 1965 loose translation of Allan Sherman's masterpiece "Hello Muddah, Hello Fadduh" remains beloved to Swedes as "Brev från kolonien" (Letter from the summer camp) decades later, and could be said to have passed into folklore.
A political singer with a bohemian lifestyle, Vreeswijk remained controversial in the sixties and early seventies, idolized by his fans but disapproved of by many others for his "rude" language and persistent interest in "unsuitable" people like prostitutes and criminals. Some of his records were blacklisted by the public broadcasting company Sveriges Radio. During this period, he not only wrote and recorded songs now considered classics, such as "Sportiga Marie" ("Athletic Marie") and several affectionate salutes to the ever less employable "Polaren Pär" ("My Buddy Pär"), but he was an actor on the stage, receiving considerable critical acclaim, most notably as Pilate in the Swedish version of Jesus Christ Superstar, and as Tevye in Fiddler on the Roof. He participated in Melodifestivalen (the Swedish preselection for the Eurovision Song Contest) in 1972 with "Önskar du mej, så önskar jag dej", which finished sixth. He also appeared in movies, including Svarta Palmkronor (Black Palm Trees, 1968), which was filmed on location in Brazil. Spending four months in Brazil began Vreeswijk's lifelong interest in Latin American music and social and political conditions, later seen for example in his Victor Jara album of 1978.
Later in his career, Vreeswijk was to gain increasing fame and a wider audience both for his songs and his other work. He published several volumes of poetry in his lifetime and left a considerable manuscript legacy of poems which have been published since. He also became an important musical interpreter of the works of other people, recording the songs of Carl Michael Bellman, Evert Taube, and Lars Forssell. His fresh, bluesy renderings of Bellman and Taube, who had up to then been classics belonging to the "harmless" tradition that Vreeswijk despised, were artistic and commercial successes which extended his fanbase. The choice of Bellman was significant: Bellman's lively, romantic, pastoral, drinking and sometimes bawdy songs have gained him the somewhat undeserved reputation of being a drunken womaniser. Vreeswijk may have enjoyed the association of being "something of a Bellman himself".
Vreeswijk's own best-known songs of the later seventies and early eighties tend to be dark in tone, like "Sist jag åkte jumbojet blues" ("Last time I Went by Jumbojet Blues", a metaphorical bad trip) and "Blues för Fatumeh", both addressing heavy drug addiction. Even though in this period Vreeswijk was a prey of tabloid scandal and was in the news for his drinking problem and his debts (about both of which he spoke with frankness) rather than for his achievements, he remained highly creative and productive and he is also known as the co-writer of the Hep Stars song "Speleman" which was released for their album Songs We Sang 68'
Towards the end of Vreeswijk's life his reputation soared again, aided by the televising of some highly regarded nightclub shows, and by Agneta Brunius' TV documentary Balladen om den flygande holländaren (The Ballad of the Flying Dutchman) in 1986. By the time of his death from liver cancer at the age of fifty, Cornelis Vreeswijk had become an icon of the Swedish music scene, and he was honored with burial at the cemetery of Katarina kyrka, a national cemetery in Stockholm. In 2010, Cornelis, a movie about his life, premiered in Swedish cinemas. Norwegian singer Hans Erik Dyvik Husby (previously in Turbonegro) played the role of Vreeswijk.
In 1966, the Dutch broadcasting organisation VARA invited Vreeswijk to the Netherlands. He translated several of his songs into Dutch, and wrote a couple of new ones. One of his songs, "De nozem en de non" ("The Greaser and the Nun"), was released as a single, without much popular success. His first Dutch album was only released in 1972, after ten successful Swedish albums. 100,000 copies of Cornelis Vreeswijk were sold, and the single "Veronica" became a big hit after it was picked up by the pirate radio station Veronica. His old song "De nozem en de non" was then re-released with much success. His later albums could not match the success of the first one, and Vreeswijk never achieved the fame in the Netherlands that he did in Sweden.
Nowadays, only "De nozem en de non" is still known by the general Dutch public. Vreeswijk still has some fans in the Netherlands, however, and in 2000 the Cornelis Vreeswijk society was founded.
One reason for his lack of popularity in the Netherlands was the impression that Cornelis Vreeswijk was a bit old-fashioned. Because of his long stay in Sweden, the Dutch pronunciation and idiom that he had learned to speak in his youth were out-of-date in the seventies and eighties.
Although he was fluent in both Dutch and Swedish, the latter became his primary language. His Stockholm-accented Swedish was famously witty and expressive, and in an interview he once suggested that the process of learning the language in his teens might have energized his use of it: "It doesn't just fall over you like when you're a baby and fed daily with words and food. You become freer, less respectful. ... Swedish is such a different language. Pure, distinct, beautiful. It has few synonyms. But they're many enough for me".
Märk hur vår skugga
Cornelis Vreeswijk Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Inom ett mörker sig slutar
Hur guld och purpur i skoveln, den där
Byts till grus och klutar
Vinkar Charon från sin brusande älv
Och tre gånger sen dödgrävaren själv
Mer du din druva ej kryster
Därföre, Movitz, kom hjälp mig och välv
Lillklockan klämtar till storklockans dön,
Lövad står kantorn i porten
Och vidl de skrålande gossarnas bön
Helgar denna orten.
Vägen opp till templets griftprydda stad
Trampas mellan rosors gulnade blad,
Multnade plankor och bårar;
Till dess den långa och svartklädda rad
Djupt sig bugar med tårar.
Ack längtansvärda och bortskymda skjul
Under de susande grenar,
Där tid och döden en skönhet och ful
Till ett stoft förenar!
Till dig aldrig avund sökt någon stig
Lyckan, eljest uti flykten så vig,
Aldrig kring grifterna ilar.
Ovän där väpnad, vad synes väl dig,
Bryter fromt sina pilar.
Så gick till vila, från slagsmål och bal
Grälmakar Löfberg, din maka
Där dit år gräset långhalsig och smal
Du än glor tillbaka
Hon från Dantobommen skildes i dag
Och med henne alla lustiga lag
Vem skall nu flaskan befalla?
Torstig var hon och urtorstig är jag
Vi är torstiga alla
The song "Märk hur vår skugga" by Cornelis Vreeswijk recounts the inevitability of death and the acceptance that comes with it. The first verse alludes to the story of Charon from Greek mythology, who ferries souls across the river Styx into the afterlife. The mention of "dödgrävaren" or "the gravedigger" serves as a reminder that death is always around the corner, even for those who seem invincible. The second verse describes a funeral procession, with the tolling of bells and the sorrowful weeping of the mourners. The last verse is a reflection on the transience of life, and the fact that no one can escape death's grasp, no matter how much they may covet life's pleasures.
Overall, the song is a poignant meditation on mortality, and a reminder to cherish the moments we have while we still can.
Line by Line Meaning
Märk hur vår skugga, märk, Movitz mon frere
Notice how our shadow ends in darkness, Movitz my brother
Inom ett mörker sig slutar
Within a darkness it all ends
Hur guld och purpur i skoveln, den där
How gold and purple inside that shovel
Byts till grus och klutar
Is exchanged for gravel and scraps
Vinkar Charon från sin brusande älv
Charon waves from his roaring river
Och tre gånger sen dödgrävaren själv
And three times the gravedigger himself
Mer du din druva ej kryster
You can no longer squeeze your grape
Därföre, Movitz, kom hjälp mig och välv
Therefore, Movitz, come help me and roll
Gravsten över vår syster!
Gravestone over our sister!
Lillklockan klämtar till storklockans dön,
The small bell tolls with the big bell's boom
Lövad står kantorn i porten
The cantor stands praised in the gate
Och vidl de skrålande gossarnas bön
And amidst the bellowing of the boys' prayers
Helgar denna orten.
This place is sanctified
Vägen opp till templets griftprydda stad
The road up to the temple's grave-adorned city
Trampas mellan rosors gulnade blad,
Is trodden between yellowed petals of roses
Multnade plankor och bårar;
Decayed planks and stretchers
Till dess den långa och svartklädda rad
Until the long, black-clad procession
Djupt sig bugar med tårar.
Deeply bows with tears.
Ack längtansvärda och bortskymda skjul
Oh longed-for and obscured hideaway
Under de susande grenar,
Beneath the rustling branches
Där tid och döden en skönhet och ful
Where time and death unite a beauty and an ugly
Till ett stoft förenar!
Into a dust unite!
Till dig aldrig avund sökt någon stig
Jealousy has never sought a path towards you
Lyckan, eljest uti flykten så vig,
Happiness, otherwise so quick to flee
Aldrig kring grifterna ilar.
Never rushes around the graves.
Ovän där väpnad, vad synes väl dig,
Enemy there armed, what do you think
Bryter fromt sina pilar.
Breaks his arrows piously.
Så gick till vila, från slagsmål och bal
Thus rested from fights and balls
Grälmakar Löfberg, din maka
Quarrelsome Löfberg, your wife
Där dit år gräset långhalsig och smal
Where the grass is tall and slender by now
Du än glor tillbaka
You still look back
Hon från Dantobommen skildes i dag
She was parted from Dantobommen today
Och med henne alla lustiga lag
And with her all the merry company
Vem skall nu flaskan befalla?
Who will now command the bottle?
Torstig var hon och urtorstig är jag
Thirsty she was and parched I am
Vi är torstiga alla
We are all thirsty
Lyrics © BMG Rights Management, Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: CORNELIS VREESWIJK, CARL MICHAEL BELLMAN
Lyrics Licensed & Provided by LyricFind
@gnarbeljo8980
@@kattihatt det får du ju tycka. Men det är helt vanlig svenska för oss som är intresserade av skalder och poeter från 1700 talet till nutid. Utgår ifran att du skulle tycka den mesta nutida poesin var obegripligt krånglig, och 70talets engelska metal band som Led Zepplin och Deep Purple (texter och mellansnack) måste framstå som rena grekiskan. Men du, det är därför det finns svensktoppen och lättlyssnad popp och hela melodifestovaler för alla dem som vill "lyssna på en klämmig bit" skriven av folk som inte är konstnärer utan just popsnören. Fö ett strålande ord jag själv använder ibland. Alla begriper vad man menar. Cornelis var konstnär och trubadur. Precis som Bellman en gång, och sprungen ur en rik holländsk/flamländsk tradition av musikalisk poesi med enormt konstnärligt uttryck. Jaques Brel brukar iaf svenskar känna till, åtminstone de som begriper lite franska. Just for reference...
You do you man.
Men mindre krystad och tillgjord live artist får man leta länge efter. Cornelis gjorde sig inte till för NÅN, det var liksom det som var så oerhört cool med honom och faktiskt utpräglat ickenordiskt.
Evert Taube var både konstlad och jävligt fåfäng. Tom när han gick på stan bara. Fanns icke ett spår av det där över Cornelis.
Och han var minst lika viktig för svensk kultur.
Och betydligt intelligentare, och långt mer originell. (Taube snodde mycket av både melodier och stuk av såna som Carlos Gardel och populära artister inom traditionell anglosaxisk och argentinsk folkmusik som inte hörts i Sverige, och saknade C's sinne för humor och vass politisk satir ) Förlusten av Cornelis var och är enorm.
Han har aldrig fått nån efterträdare.
Stefan Sundström är väl den jag spontant kommer på som förutom i svensk punk/prog/rock jobbat i Cornelis anda på nåt helt eget sätt, också sjungit alla Allan Edwalls sånger och alltid bara varit sig själv och struntat i "sköna/plågade" artistposer.
Thåström möjligen men humor var väl inte hans shtick, och jobbar han än egentligen?
Långt mellan indianöverfallen onekligen...
Jag kan ju ha fel men tror inte kids idag klarar skriva politisk satir och samtidigt omfatta skör poesi och personligt språk rent musikaliskt.
Hoppas nån stjärna bevisar motsatsen.
@YozhikvTumane
Behold our shadow, look, Movitz my brother
How it's encompassed by darkness
How gold and velvet, in the shovel, over there
shifts to gravel and tatters
Charon waves from his rushing river
as does then, three times, the grave digger
no-more your grape will you clasp
Therefore, Movitz, come help me lever
a headstone for our sister!
So went to rest, from brawls and ball
Troublemaker Lofberg, your wife
There, to the grass, long necked and slender
Is yet where you turn your eye
From the Tanto toll-house she parted today
And with her, all merry games
Who shall now the bottle command?
Thirsty was she and so thirsty am I;
Thirsty are all of us.
@usakitsukino5844
"Jag är inte nån Bellman-tolkare..."
Ingen anledning att vara pryd här, gode Cornelis. Du var den som kom närmast att vara en ny Bellman, utan att gå runt och låtsas vara nån ny Bellman. Frid vare med dig och tack för alla goda minnen.
@danielholmqvist2713
Tycker du bekräftar vad han säger här. Att vara en "ny Bellman" (vilket jag iförsig inte tycker han är) är ju motsatsen mot att vara Bellman-tolkare. När Åkerström eller Bagge tolkar Bellman gör de ju det med vad de anser Bellman kan ha låtit som i åtanke. En ny Bellman är ju sin helt egna stil men användandes hans texter
@spacemaker8760
Då var Fred Åkerström en bättre
@LarzGustafsson
Jag är den nye Joe Strummer.
@torbjornduner7217
@@danielholmqvist2713 Vi har många fantastiska svenska skalder, för mig är ordningen Bellman, Taube, Cornelis.
@EmmelineSama
@@spacemaker8760han VAR en Bellman-tolkare. Cornelis var sig själv.
@espadanl
Geweldig Meester Cees. Ik zal je nooit vergeten.
@mariamalmquist9294
Han dog för ung. Vi kommer inte glömma honom.
@seybertooth9282
Jag såg Mäster Cee lajv. Ett liv väl levt.
En svensk kulturskatt.
@te2257
Jag har i alla fall aldrig hört en bättre tolkning... Enastående!