The Arthurian Legends tell us that Arthur will one day return to reunite and rule over Britain. Arthur’s reign represents perfect politics, and his Christ-like return would mark the beginning of a new golden age. Even so, King Arthur, quickly come. We need you on this side of the pond as well.

How fitting that Henry Purcell, the greatest English baroque composer during his life (and easily the greatest English composer since the renaissance) had written an opera based on the King Arthur legends. And, interestingly, it was politically poignant when it was composed, as England was struggling with who would be the heir to the throne – their choices were the King’s brother (that’s good) who was Roman Catholic (that’s bad) OR an illegitimate son (that’s bad) who was Protestant (that’s good). Sadly, Arthur didn’t return then to fix the political strife, but fingers crossed that he shows up in the US sometime soon!

This is an older recording (from 1956), and it shows its age in its over-romantic interpretation of the music. That doesn’t mean it’s bad, but it’s different from the way it sounded in Purcell’s day. For one, the instruments used have evloved significantly over the 200 years; secondly, musical styles and practices have evolved as well. For a “performance practice” version of some of the same music, click here.

I had two different pieces lined up for today, depending on the outcome of the election. I have to admit that I really didn’t expect to be playing this one. We humans are strange indeed. If you’re happy with the election results, congratulations. If you’re saddened, music can be healing. This short piece of incidental music by Edvard Grieg speaks directly to the sore heart. Like most of the other movements of his Peer Gynt suite, it uses a simple four-measure melody that repeats a lot. The simplicity is refreshing, though – sometimes you just don’t have the energy to get involved with a long musical narrative.

Remember that humans are capable of creating things of beauty.

(Aase is Peer Gynt‘s mother.)

Musicians usually have a good sense of humor. Those who don’t are either at the very top or the very bottom of the music world.

A lot of educators use Camille Saint-Saëns‘ Carnival of the Animals as an introduction to Art Music for very young listeners. The lesson usually goes like this:

TEACHER: Ok class, we’re going to listen to some music now. (plays music) Now what did that make you think of?
STUDENT #1: I have a dog named muffin.
TEACHER: That’s nice. Does it remind you of anything?
STUDENT #2: It sounds like SpongeBob.
TEACHER: Well, this music is about an animal! What animal does it make you think of?
STUDENT #3: A Velociraptor.
TEACHER: Don’t you think it sounds like chickens?
STUDENT #4: I think I’m going to throw up.
TEACHER: Let’s do some coloring instead.

Saint-Saëns piece is delightful enough to be enjoyed by little ones, but has some wicked humor in it aimed at adults. Among the “animals” that he paints with music are: Elephants, Donkeys, Birds, Pianists, People with Long Ears (i.e. music critics), and Fossils. He satirically quotes dozens of musical compositions throughout the work: his own Danse Macabre as well as Berlioz’ Faust, Mendelssohn’s Midsummer Night’s Dream, Offenbach’s Can-Can, Rossini’s Barber of Seville, and more.

This election year was horrible on so many accounts. Without humor I would have crawled away into a cave until it was all over. So, go vote today, and in the meantime, enjoy “Elephants” and “Donkeys”.