Little is known about the origins of the Nyckelharpa, although there have been other keyed fiddles played in other countries, especially Germany. The oldest Swedish reference to the Nyckelharpa is a 1350 carving of two Nyckelharpa players at the K�llunge church on Gotland. (11)
One of the most famous surviving examples of the old version of Nyckelharpa is the Moraharpa, which was found in the town of Mora, Sweden. This Nyckelharpa was a simple Nyckelharpa, with one melody string and two drone strings, as well as one row of keys. This version of the Nyckelharpa eventually evolved into a version that incorporated sympathetic strings, perhaps under the influence of the viola d�amore or other instruments with such strings. That instrument evolved into the kontrabasharpa, which had one row of keys but two tangents for most of them. This, and many variations of it, was the dominant form of Nyckelharpa until the 20th century. (11)
Major changes in the kontrabasharpa led to the modern 3-row chromatic harpa, pioneered by Eric Sahlstr�m and other Uppland players. This new version of the Nyckelharpa is a more pleasant-sounding instrument and is much closer to a violin in construction than its predecessors. The chromatic Nyckelharpa is now the dominant form of harpa, mostly because it is what was available when today�s younger generation started to play the instrument. (11)
The Nyckelharpa is used to play many types of songs, but the most popular kind is the polska. This is not coincidental; the polska is by far the most popular style of music and dance in Sweden, even today. As a style of music, the polska is a three-beat tune with emphasis on the first and third beats. This basic style is found in the majority of the traditional tunes in Sweden. Most of the traditional Nyckelharpa polskas come from Uppland, where the tradition is the strongest.
Many other styles of music can be played on Nyckelharpa, including waltz (vals), schottis, hambo and even modern compositions. However, Norwegian tunes such as springar and halling are rarely, if ever, played on this instrument.
It�s somewhat of a miracle that the Nyckelharpa even exists today. The tradition nearly died out in Sweden during the first half of the 20th century. The tradition was kept mostly in Uppland, and as a result most of the traditional tunes played today are in the Uppland style. A man from Uppland by the name of Eric Sahlstr�m almost singlehandedly revived the old traditions, first by modernizing the instrument and later by playing the old songs (most of them from a famous 19th century player named Byss-Kalle) as well as making up new ones that fit within the tradition. Eric also taught many younger people to play the instrument. This new generation owes a lot to Eric and his attempts to revive the Nyckelharpa, and they in turn are making the instrument more popular than ever.
As a result of Eric Sahlstr�m�s tireless efforts, there are now over 10,000 Nyckelharpa players in Sweden today as well as approximately 140 players in the United States. Although the relatively strong numbers are important, even more significant is the status the Nyckelharpa has attained in modern folk music. There are basically two schools: those who try to hold on to the traditions and keep the Nyckelharpa�s status as Sweden�s own national instrument, and those who do all those things as well as take the harpa out of its traditional world and bring it to new audiences through modern styles of music. More and more, young Swedish musicians and folk groups (and even some Norwegians and Finns) are incorporating the Nyckelharpa into their music. The versatility of the instrument is only beginning to show, and as the instrument gains popularity it will probably be used in new ways never before thought possible.
Today�s reigning Nyckelharpa ambassador is Olav Johannson, of the harpa-viola-guitar-percussion quartet V�sen. Olav plays the traditional tunes in this group, but also uses the harpa in his own contemporary compositions. Olav is definitely not afraid to expand the boundaries of the instrument�s sound.
Olav is also part of a newer group called the Nyckelharpa Orchestra. Just the idea of an entire orchestra (there are 6 players in all) playing this instrument is mind boggling. Thus far, the group has recorded two traditional CDs honoring their heroes, Eric Sahlstr�m and Byss-Kalle. The future of the Nyckelharpa is unknown, but what is certain is that the younger generation will carve out their own traditions in the world of scandinavian folk music.