William Makepeace Thackeray’s Ballad of the Bouillabaisse (1855)

What’s your favourite dish? If you were asked to choose your “last supper”, what would it be? For me, I would likely choose that classic Provençal seafood stew, bouillabaisse. I still keep, tucked into a Roux Brothers cookery book (that I see from the inner leaf came from my mum in Christmas 1988), a cut-out recipe for bouillabaisse that I have returned to many times over the years. My version is probably not authentic (to be so, it must apparently contain what the French call “rascasse” – i.e. scorpionfish – which tends not to be available at the Morrisons fish counter) but they say that recipes vary from family to family in Marseille anyway. At any rate, it’s a deeply rich and satisfying dish, and it goes down a treat. Like many a classic French dish (think pot au feu, cassoulet, bœuf bourguignon…) bouillabaisse has a noble charm to it and there’s a giant of 19th century literature, William Makepeace Thackeray, who agrees with me.

You may know of William Thackeray from his classic novel, Vanity Fair, but he was also responsible for many an amusing verse. He was, by all accounts, a really funny guy; Trollope said of him: “he rarely uttered a word, either with his pen or his mouth, in which there was not an intention to reach our sense of humour”. This poem, The Ballad of the Bouillabaisse, from his 1855 collection of verse, Ballads, is typical: a wonderfully crafted and charming tribute to the noble dish, of which Thackeray was clearly a fan from his many years residing in Paris.

When one day I am next in Paris, or Marseille, I’d like to think I might find an establishment suitably similar to that conjured up in Thackeray’s poem, find a table in a nook, and order a steaming bowl of bouillabaisse and a bottle of “the Chambertin with yellow seal”. For, as Thackeray says, “true philosophers…should love good victuals and good drinks”. Failing the realisation of that dream, however, I still have my trusty old recipe.

Read the poem below as you (here’s a treat!) listen to your blogger reciting the poem whilst backed by some glorious French accordion music. Best enjoyed when hungry…

A street there is in Paris famous,
For which no rhyme our language yields,
Rue Neuve des petits Champs its name is—
The New Street of the Little Fields;
And here ’s an inn, not rich and splendid,
But still in comfortable case—
The which in youth I oft attended,
To eat a bowl of Bouillabaisse.

This Bouillabaisse a noble dish is—
A sort of soup, or broth, or brew,
Or hotchpotch of all sorts of fishes,
That Greenwich never could outdo;
Green herbs, red peppers, mussels, saffern,
Soles, onions, garlic, roach, and dace;
All these you eat at Terrés tavern,
In that one dish of Bouillabaisse.

Indeed, a rich and savory stew ’t is;
And true philosophers, methinks,
Who love all sorts of natural beauties,
Should love good victuals and good drinks.
And Cordelier or Benedictine
Might gladly, sure, his lot embrace,
Nor find a fast-day too afflicting,
Which served him up a Bouillabaisse.

I wonder if the house still there is?
Yes, here the lamp is as before;
The smiling, red-cheeked écaillère is
Still opening oysters at the door.
Is Terré still alive and able?
I recollect his droll grimace
He’d come and smile before your table,
And hop’d you lik’d your Bouillabaisse.

We enter; nothing’s changed or older.
“How’s Monsieur Terré, waiter, pray?”
The waiter stares and shrugs his shoulder;—
“Monsieur is dead this many a day.”
“It is the lot of saint and sinner.
So honest Terré ’s run his race!”
“What will Monsieur require for dinner?”
“Say, do you still cook Bouillabaisse?

“Oh, oui, Monsieur,” ’s the waiter’s answer;
“Quel vin Monsieur désire-t-il?”
“Tell me a good one.” “That I can, sir;
The Chambertin with yellow seal.”
“So Terré’s gone,” I say and sink in
My old accustom’d corner-place;
“He’s done with feasting and with drinking,
With Burgundy and Bouillabaisse.”

My old accustom’d corner here is—
The table still is in the nook;
Ah! vanish’d many a busy year is,
This well-known chair since last I took.
When first I saw ye, Cari luoghi,
I’d scarce a beard upon my face,
And now a grizzled, grim old fogy,
I sit and wait for Bouillabaisse.

Where are you, old companions trusty
Of early days, here met to dine?
Come, waiter! quick, a flagon crusty—
I’ll pledge them in the good old wine.
The kind old voices and old faces
My memory can quick retrace;
Around the board they take their places,
And share the wine and Bouillabaisse.

There’s Jack has made a wondrous marriage;
There’s laughing Tom is laughing yet;
There’s brave Augustus drives his carriage;
There’s poor old Fred in the Gazette;
On James’s head the grass is growing:
Good Lord! the world has wagg’d apace
Since here we set the Claret flowing,
And drank, and ate the Bouillabaisse.

Ah me! how quick the days are flitting!
I mind me of a time that’s gone,
When here I’d sit, as now I’m sitting,
In this same place—but not alone.
A fair young form was nestled near me,
A dear, dear face look’d fondly up,
And sweetly spoke and smil’d to cheer me.
—There’s no one now to share my cup.

I drink it as the Fates ordain it.
Come, fill it, and have done with rhymes;
Fill up the lonely glass, and drain it
In memory of dear old times.
Welcome the wine, whate’er the seal is;
And sit you down and say your grace
With thankful heart, whate’er the meal is.
—Here comes the smoking Bouillabaisse!

A bouillabaisse I made!
William Makepeace Thackeray

Joseph Heller’s Catch-22 (1961)

I discovered Joseph Heller’s satirical novel Catch-22 way back in my early twenties and went on to re-read it in that decade at least once, maybe twice. It is placed squarely on that literary pedestal known as “the great American novel” and with some justification, since it regularly tops polls and even the BBC’s Big Read survey in 2003 (the biggest single test of public reading taste to date) had it ranked number 11 in the UK’s best-loved books. It is a darkly humorous and absurdist satire, that excoriates the illogical nihilism of war, and it does it masterfully.

I won’t attempt a plot summary, so let me just briefly frame the story. The novel follows the exploits of the fictional American 256th fighter squadron, stationed on the island of Pianosa in Italy’s Tuscan archipelago, during the height of World War II. With a huge cast of characters and a narrative that switches viewpoints and chronology on a regular basis, Heller creates a delicious mix of absurdity and hilarity.

Chief lunatic in the asylum is Captain John Yossarian, bomber pilot, whose main ambition in life is to stay alive (“live forever or die in the attempt”). Yossarian doesn’t distinguish between the “enemy” and his superiors; as far as he’s concerned, the enemy is anybody who’s going to get him killed, no matter which side they’re on, and he concocts a series of ingenious, albeit ultimately unsuccessful, methods for avoiding the suicidal bombing missions. In so doing, the Yossarian character acts as the conscience of the story; his is the voice of reason and righteous anger against the war and the faceless bureaucracy that pulls its strings. It is that Kafkaesque bureaucracy that thwarts his and others’ attempts to avoid dangerous situations, most notably with the infamous Catch-22.

A catch-22, of course, is a paradoxical situation from which a person cannot escape due to its contradictory rules. It is perhaps notable that the phrase, coined by Heller, has become part of the lexicon; life is indeed full of such situations (“how do I gain experience in a job if I am always turned down for not having any experience?”). In the book it is used in a variety of different formulations to justify some military requirement or other. Incidentally, Heller’s original title was Catch-18 but for reasons of euphony (and the release of another book, Leon Uris’s Mila 18) it was changed to Catch-22. Here’s an example of how the catch works.

There was only one catch and that was Catch-22, which specified that a concern for one’s safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn’t, but if he was sane he had to fly them. If he flew them he was crazy and didn’t have to; but if he didn’t want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle.

“That’s some catch, that Catch-22,” he observed.

“It’s the best there is,” Doc Daneeka agreed.

Joseph Heller

Reza Badiya’s Title Visualisation for Hawaii Five-0 (1968)

When I was growing up in the seventies, after a decade of mainly black and white television, there was a plethora of new, colourful, exciting TV dramas: Mission: Impossible, The Six Million Dollar Man, Starsky and Hutch, The Champions, The Persuaders, Kojak…the list goes on.

Most of these of course were American-produced and the industry churned them out to a public hungry for entertainment. A little-known name outside of the TV industry is Iranian director Reza Badiyi, but he deserves recognition from those of us who devoured hours of the aforementioned shows, for Badiyi helmed literally hundreds of hours of episodic TV. He directed more than 430 episodes of television, including multiple episodes of Mission: Impossible, The Six Million Dollar Man, The Rockford Files, Hawaii Five-O, The Incredible Hulk, T.J. Hooker, and Cagney and Lacey.

Badiyi began his American career as a cinematographer, having moved from Iran in 1955 and graduated from Syracuse University with a degree in film-making. He worked with directors such as Sam Peckinpah and Robert Altman before moving increasingly into television. No-one would claim Badiyi’s work in the seventies as great works of art but, with their breakthrough visual effects, they were certainly culturally significant for young viewers like myself.

To represent Badiyi’s oeuvre I have chosen the title visualisation (i.e. the opening and closing credits) for Hawaii Five-0. If you were alive in the seventies, there’s a very high probability these images will be very familiar to you. Backed by an irresistible score by Richard Shores, Badiyi used dynamic, zooming photography, copious imagery from Hawaii (the 50th State – Five-0 – get it?), with cool quick-cuts and freeze-frames to set the viewer up nicely for the upcoming crime-defeating drama. Who can forget the fast zoom-in to the top balcony of the Ilikai Hotel, with Jack Lord’s Steve McGarrett turning to face the camera?

For the closing credits, Badiyi chose to use these iconic outrigger canoeists battling the surf (anyone remember sitting in a line of like-minded plonkers on a dance floor, paddling like crazy and singing duh-duh-duh-duh duhhhh duhhhh…?)

All in all, a bravura title visualisation by one of the most prolific directors of episodic series television in the history of the medium. Book him, Danno!

Reza Badiyi

J M W Turner’s The Fighting Temeraire (1839)

J M W Turner is famed for his mastery of light and colour. For him, as for Monet, light was a miraculous phenomenon — it produced colour, it sculpted form and mood and it revealed the beauty of nature. He was also remarkably prolific, leaving some 550 oil paintings and 2,000 watercolours (as well as about 30,000 sketches), so you don’t have to go out of your way in this country to find a Turner. He was a keen traveller, and I love the fact that he came to Yorkshire and painted such familiar landmarks (to us) as Hardraw Force, Malham Cove, and Harewood House. Indeed, the Tate holds six full sketchbooks from Turner’s tour of Yorkshire in 1816.

However, the subject of this blog is set not in Yorkshire but on the Thames river. This painting by Turner, The Fighting Temeraire, on display in the National Gallery, depicts the last journey of the HMS Temeraire. The Temeraire had been a celebrated gunship that had fought valiantly in Lord Nelson’s fleet at the battle of Trafalgar in 1805. Indeed, prior to that battle, she had been merely the Temeraire; it was afterwards she was honoured with the “Fighting” sobriquet. Thirty three years later, however, decaying and well past her glory days, she was towed up the Thames from Sheerness to be broken up in a Rotherhithe shipyard.

Turner’s painting pays tribute to the Temeraire’s heroic past. The glorious sunset is a fanfare of colour in her honour. Paint is laid on thickly to render the sun’s rays striking the clouds, whilst by contrast, the ship’s rigging is meticulously painted. It can be seen as a symbol of the end of an era, even the decline of Britain’s naval power, with the sun setting on the days of elegant, tall-masted warships. The Temeraire is already phantasmal, behind the more solid form of the squat little steam tug that pulls her along to her fate.

Turner was in his sixties when he painted The Fighting Temeraire; perhaps this was behind his thinking in terms of the end of an era. In any event, the painting is an arresting piece of work and, distinct from Turner’s many strictly-landscape paintings, it tells a story. I love it.

 

The HAL 9000 Scene in 2001: A Space Odyssey (1968)

There’s been a lot of talk in the media recently about Artificial Intelligence (AI). Facebook uses it for targeted advertising, photo tagging, and news feeds. Microsoft and Apple use it to power their digital assistants, Cortana and Siri, and Google’s search engine has utilised AI from the beginning. There appears to be something of a chase to create flexible, self-teaching AI that will mirror human learning and apparently transform our lives.

There have been some big-name doom-mongers on this subject, however. Elon Musk thinks AI is probably humanity’s “biggest existential threat”. Stephen Hawking fears that AI may “replace humans altogether”. Bill Gates agrees with both of them. Me, I’m not so sure; surely you can always turn a machine off?…(on the other hand, have you ever tried closing Skype?)

This concept of computers/machines gone bad is a well-worn theme in science fiction, with the Terminator series of films an obvious example, but it was back in 1968, in Stanley Kubrik and Arthur C Clarke’s seminal 2001: A Space Odyssey, that we were introduced to our first electronic wrong ‘un, HAL 9000. HAL (from Heuristically programmed ALgorithm, apparently, though some have conjectured an easily-decrypted code version of IBM) is a sentient computer controlling the systems of the Discovery One spacecraft on its mission to Jupiter.

HAL is initially regarded as another member of the crew, engaging genially with its human colleagues, playing chess with them and so on. However, he begins to malfunction in subtle ways. As the malfunctioning deteriorates, the crew members discuss the possibility of disconnecting HAL’s cognitive circuits. Unfortunately, HAL can read lips and discerns their plan, and his programmed directives to protect the mission lead him to reason that he must kill the astronauts. In this classic scene, crew member Dave Bowman is outside the main craft in a “pod” and is seeking re-entry, asking HAL to open the pod bay doors. HAL (voiced chillingly by Douglas Rain) isn’t playing ball…

W B Yeats’ The Lake Isle of Innisfree (1888)

Ten years ago, Sal and I had a weekend break in Knock in County Mayo, Ireland, during which we took a pleasant side trip to Sligo and “Yeats country”. In those days I was into “collecting” literary graves and we took the opportunity to visit Yeats’ final resting place, which turned out to be situated in a glorious setting at Drumcliff, under the imposing Benbulbin rock formation. William Butler Yeats was of course one of the foremost twentieth century English language poets, and in Sligo they’re rightly proud of him.

Benbulben

I confess to not having read much Yeats, but there are two of his poems in particular that have resonated with me from old. One is his evocative rendering of the Greek myth, Leda and the Swan, and the other is this, the twelve-line lyric poem, The Lake Isle of Innisfree.

Yeats wrote The Lake Isle of Innisfree in 1888 when he was a young man, living in London and feeling lonely and homesick. The 1880s had seen the rise of Charles Stewart Parnell and the home rule movement in Ireland and developments there had had a profound effect on Yeats’ poetry, informed by his subsequent explorations of Irish identity. The Lake Isle of Innisfree is about a yearning for his childhood home (the isle of Innisfree is a real place, an uninhabited island in Lough Gill, where Yeats spent many of his childhood summers). It is a place of serenity and simplicity, and to we, the reader, that place becomes not Innisfree, but wherever we happen to picture our own rural hideaway; the place to which we pretend we shall one day escape and leave behind our current manic, urban lives (“on the pavement grey”).

The Lake Isle represents an escape, a poet’s vision of a romantic, idyllic, and timeless way of life. I love the way he evokes the tranquil life, in the bosom of nature, in that masterfully simple phrase wherein he says he will “live alone in the bee-loud glade”. How effectively this conjures up a picture of a hot sunny day alive with the hum of insects!

Of course, such an ambition rarely comes to pass and it remains for most of us a fanciful idea. Indeed, Yeats died in France and only returned to Sligo in a coffin. But his poem remains a great favourite with the Irish (it’s quoted in Irish passports) and to romantics everywhere who yearn for tranquillity and “hear it in the deep heart’s core”.

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean rows will I have there, a hive for the honey bee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

 

William Butler Yeats

The Glenn Miller Orchestra plays In The Mood (1939)

In this blog, I have written about both Elvis Presley and the Beatles, but before them, in an extraordinary four year period between 1938 and 1942, there was a man who scored 23 number-one hits in the US: bandleader and icon of the swing era, Glenn Miller. Miller was perhaps an unlikely star and certainly a reluctant one, as he shied away from the spotlight and hated personal appearances, but he nonetheless had such an ear for melody and such keen arranging skills that most of his output became classics of the age – think Moonlight Serenade, Pennsylvania 6-5000, Tuxedo Junction, Chattanooga Choo Choo, and of course In the Mood, one of the best dance songs to emerge from the period and the one big band song that gave the swing era its defining moment.

Miller had cut his teeth as a freelance trombonist in a variety of bands in the late 1920s and early 1930s, and worked as a composer and arranger for the Dorsey brothers. He had put an orchestra together for British bandleader Ray Noble in 1935, and in 1937 formed his first band, but this proved short-lived after failing to distinguish itself from the plethora of rival bands. Miller knew that he needed a unique sound and in 1938 he put together an arrangement with the clarinet playing a melodic line with a tenor saxophone holding the same note, while three other saxophones harmonised within a single octave. It soon became the basis of the “Miller sound”, the template for what big band music would sound like.

In the Mood is based on an old jazz riff that had been passed around in various incarnations for many a year. It was a fellow named Joe Garland who created a new arrangement for the riff with the title of “In the Mood”, but it was Miller who pared the tune down to its bare essentials. Released in September 1939, the tune went on to top the charts in the US for thirteen straight weeks. With its famous introduction featuring the saxophones in unison, the catchy riff anchoring the tune, the two solos (a “tenor fight” between saxophonists Tex Beneke and Al Klink, and a 16-bar trumpet solo by Clyde Hurley), and the suspense-building ending, it has all the Miller specialities. A true model of suspense and dynamics. Here it is as featured in the 1941 movie Sun Valley Serenade.

 

Glenn Miller

Pieter Bruegel the Elder’s Census at Bethlehem (1566)

Last Sunday, my family and I attended a Christmas carol service at our local church, resplendent, as every year, with candlelight and seasonal goodwill. As well as the age-old carols that we all know and love (or at least tolerate fondly, after the decades of repetition), there were of course several apposite readings, and it is the one below, from Luke 2:1-5, that inspired the subject of today’s blog.

And it came to pass in those days that a decree went out from Caesar Augustus that all the world should be registered… So all went to be registered, everyone to his own city. Joseph also went up from Galilee, out of the city of Nazareth, into Judea, to the city of David, which is called Bethlehem, because he was of the house and lineage of David, to be registered with Mary, his betrothed wife, who was with child.

This of course refers to the census at Bethlehem, and the scene was depicted wonderfully well (albeit set anachronistically and anatopistically in 16th century Flanders) in this 1566 oil painting by one of my favourite artists, Pieter Bruegel the Elder. As is usual with works by this Netherlandish Renaissance master, much pleasure is derived from viewing the piece up close and discovering the multitude of details.

We are looking down on a snow-covered village (and indeed this is one of the first examples of snowy landscape in Western art, the previous winter of 1565 having been, not uncoincidentally, one of the harshest on record). People are going about their daily business: clearing the snow, crossing the frozen pond, warming themselves around a fire. The children are throwing snowballs, skating, sledging, spinning tops. In the right hand foreground, we see a man with a large carpenter’s saw, leading an ox and an ass, on which rides a woman wrapped up tightly against the cold. These are of course none other than Joseph and Mary, who have come to Bethlehem to be enrolled in the universal census ordered by Emperor Augustus.

With a few deft brushstrokes Bruegel brilliantly captures village life, whilst subtly depicting the scene just prior to the nativity (since after registering, there was, of course, no room at the inn). I could spend ages glimpsing new details revealed in Bruegel’s works, and indeed have done on several occasions in various galleries of Europe, where I have usually been left to it, meeting my long-suffering family later in the gift shop! Funnily enough, this piece I have yet to actually see (it’s in Brussels’ Musée des Beaux Arts, which is still only “on the list”).

 

Wilfrid Owen’s Dulce et Decorum Est (1917)

“Who’s for the game?”

“Who’s for the trench – Are you, my laddie?”

These are words from poems by Jessie Pope, poet and propagandist well-known for her patriotic and motivational poetry that was originally published in the Daily Mail to encourage enlistment at the beginning of the Great War. Another poem renowned for expressing the patriotic ideals that characterised pre-war England was Rupert Brooke’s The Soldier, a sonnet in which Brooke speaks in the guise of an English soldier as he is leaving home to go to the Great War. It portrays death for one’s country as a noble end and England as the noblest country for which to die:

If I should die, think only this of me:
That there’s some corner of a foreign field
That is for ever England

Or, as the Roman lyrical poet, Horace, had it in his Odes: Dulce et decorum est pro patria mori (How sweet and honourable it is to die for one’s country).

Later, however, when the grim realities of the war had set in, Wilfrid Owen chose to express in his poetry a very different kind of sentiment, and when he wrote this poem whilst recovering from shell-shock in a hospital near Edinburgh in 1917, he borrowed from Horace’s phrase for his title: Dulce et decorum est.

No jingoism here, no rose-tinted romanticism nor noble ideals. This poem speaks instead from Owen’s direct experience; a vignette from the trenches, where the gruesome effects of a chlorine gas attack are described in compelling detail. It makes for grim reading. Wilfrid Owen, who dedicated this poem to Jessie Pope herself (I wonder how that went down?), at least provides us with an artistry of words in this description of the horror of the front line. But he reminds us that, were we to experience first-hand the reality of war, we may hesitate to repeat platitudes such as Horace’s “old Lie”.

DULCE ET DECORUM EST

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.

Gas! GAS! Quick, boys!—An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime.—
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.

In all my dreams before my helpless sight
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin,
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori
.

 

Wilfrid Owen

Mozart’s Piano Concerto no. 21, Elvira Madigan (1785)

In the course of lunch recently, my good friend and subscriber to this blog, Jason, suggested that I do a piece on one of his favourite pieces of music, Mozart’s Piano Concerto no. 21, the “Elvira Madigan” concerto. “You’ll know it” he said, when I conceded that I couldn’t bring it to mind from its name. Upon listening to it later, I nodded…of course, yes, I know this alright, and yes, Jase, it certainly does qualify for an “occasional glimpse”!

The concerto is in three movements, but it is the second movement, the Andante in F major, that is the well-known part we’ll highlight here. Mozart wrote the concerto in 1785, in the middle of a prolific creative burst in Vienna in which he wrote no fewer than eleven masterpieces in a 24-month period. It was written for one of his so-called “subscription concerts”; he would hire a venue, engage some musicians, take all the proceeds from the concert and hopefully make a profit.

I was intrigued to learn how the concerto came by its nickname, “Elvira Madigan”. What a story it turned out to be! It is a relatively recent nickname, as it is named after the 1967 film Elvira Madigan made by Swedish director Bo Widerberg in which the andante was prominently featured. The film is based on the true and tragic love story of Danish tightrope walker, Elvira Madigan (the stage name of one Hedwig Jensen) and Swedish nobleman and cavalry officer, Lieutenant Sixten Sparre of the Scanian Dragoon Regiment.

While performing in Sweden with her stepfather’s circus in 1887, Elvira Madigan met Sixten Sparre and the two fell in love. However, since he was a married man and from a different, higher social class, their love was doomed. After two years of exchanging love letters, they absconded and holed up in a hotel in Svendborg in Denmark for a month. From there, 21-year old Elvira and 34-year old Sixten took the ferry to the nearby island of Tåsinge and stayed at a little pension in the fishing village of Troense. When Sixten’s family withheld financial help, the couple’s last hopes faded. They went out to the forest, had a last meal…and then committed suicide with Sixten’s service revolver.

They are buried together on Tåsinge and to this day their graves are still visited by tourists and romantics from all over the world. Mozart’s emotional and dreamlike melody fits their tragic story perfectly. Take a quiet time to experience the music, below, whilst perusing the accompanying images I found of Elvira, Sixten and the places in which they spent their last days. If you remain unmoved, you may want to just check your pulse…

 

Elvira and Sixten

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