This year, in the American east, March has come in like a lamb with warm sun, but now that beastly lion (cold wind) has come back to bit us on the bum. Reminds me of a delightful musical setting of a set of Aesop’s fables by American composer Anthony Plog.
Ask a Norwegian about Norwegian music, and without a doubt Edvard Grieg (1843-1907) will be the first composer mentioned.
Grieg’s music retains a strong hold in our culture, because he tends to write simple, 4-measure melodies that are easy to remember and fun to sing. It’s likely that you’ve heard his most-well-known piece “In the Hall of the Mountain King,” in which there is really only one melodic idea, repeated over and over again (hence, the reason you probably know it.) Today’s piece comes from the same set of pieces. “Morning Mood” follows a similarly simple form – one melody, presented a number of ways – nothing fancy, just lovely morning mood music.
To an untrained ear, his music sounds like much of the music of the Romantic Era. To a seasoned ear, he is in a class all unto himself.
I am especially fond of Berlioz’s romantic sensibilities. He writes in his memoirs about a visit to the Paris opera. During a particularly moving aria, Berlioz overheard a conversation between two men behind him:
“Good Lord, sir, calm down! Control yourself!”
“I can’t! It’s too beautiful!”
“You silly ass, don’t let the music affect you so!”
“Just leave me alone!”
“It’s only music, you fool. Get over it! Here, have a piece of this orange, it will make you feel better.”
“It’s wonderful!”
“It’s fresh and imported from Spain!”
“I was talking about the music, you nincompoop!”
“Oh, yes, the music – it’s alright.”
Soon after this, Berlioz himself begins to weep at the overwhelming beauty of the music. At the end of the aria, he is lifted from his seat by the man behind him, who is overjoyed to have found someone who was equally moved. They embrace and share a moment together, and never see each other again.
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