The epistle is subtitled "Angående konserten på Tre Byttor" ("Concerning the concert at the Three Barrels"), naming a restaurant in Stockholm's Djurgården park.

[5] The epistles, written and performed in different styles, from drinking songs and laments to pastorales, paint a complex picture of the life of the city during the 18th century.

A frequent theme is the demimonde, with Fredman's cheerfully drunk Order of Bacchus,[6] a loose company of ragged men who favour strong drink and prostitutes.

At the same time as depicting this realist side of life, Bellman creates a rococo picture, full of classical allusion, following the French post-Baroque poets.

The women, including the beautiful Ulla Winblad, are "nymphs", while Neptune's festive troop of followers and sea-creatures sport in Stockholm's waters.

[9] The epistle is subtitled "Angående konserten på Tre Byttor" ("Concerning the concert at the Three Barrels"), naming a restaurant in Stockholm's Djurgården park.

[1] The song describes a concert in an elegant setting, more formal than the earlier epistles, with the performance taking place after an evening ball in a restaurant.

12, the melody was borrowed from George Frideric Handel's 1718 opera Acis and Galatea, in this case from the "Cyclops' Dance" or "Contradanse belle constante".

Berg spoke first with great élan, Then Ulla did her bit and sang with gusto to some of Filtz's duetts, To the strange accomp'niment of only two flutes but yes, six clarinettes.

Movitz blew so merrily Late one ev'ning in the tavern, when the dancing was over, Ev'ry note, as 'twere a pea, It roll'd so round from his gob into his oboe.

The last verse begins "Eol storms across the sky, Night's lamps are put out; it rains and squalls, and Neptune from the water's surface casts ashore whales and his guests."

[18] Carina Burman comments in her biography that an elderly Bellman in the autumn of 1794 could still entertain his hosts with performances of the riotous wedding-epistle 40 (Ge rum i Bröllopsgåln din hund!)

[20] The scholar of Swedish literature Staffan Björck calls the song a "bewitching music-epistle", and writes that Fredman's description constantly hovers between past and present.