I don’t come from a religious background so Easter isn’t very high on my list. After all can the Easter bunny compete with Santa Claus? I was probably 3 the last time you could convince me there was an Easter bunny. But Santa……..
So I know many of you have cherished music and traditions for the Passover/Easter holiday, I would love to hear the music and read about the traditions. Please share your favorites.
One thing I’ve noticed as I do this Sunday blog post is how music I couldn’t stand when I was younger is now worth listening to. Just like food, as you mature your tastes change. You may have noticed it is the second week in a row I’ve got a lady singing and it sounds pretty good.
The clip doesn’t give credit to the orchestra so I can’t give you any back ground on them.
Todays discovery happened because I reminded myself I needed to stay hydrated so I got up to mix a flavored water and left you tube to play on its own. When I walked out of the room I was listening to a Chopin piano ballade. When I came back this simple clean music was playing, it perfectly reflects the cool sunny spring day I had been enjoying. And just like the spring day, behind the simple pleasures is a complexity slowly building.
The Lark Ascending is a short, single-movement work by the English composer Ralph Vaughan Williams, inspired by the 1881 poem of the same name by the English writer George Meredith. It was originally for violin and piano, completed in 1914 but not performed until 1920. The composer reworked it for solo violin and orchestra after the First World War. This version, in which the work is chiefly known, was first performed in 1921. It is subtitled “A Romance”, a term that Vaughan Williams favoured for contemplative slow music.
Mozart wrote the concerto in April 1778, during his seven-month sojourn in Paris. It was commissioned by Adrien-Louis de Bonnières, duc de Guînes (1735–1806), a flutist, for his use and for that of his eldest daughter, Marie-Louise-Philippine (1759–1796), a harpist, who was taking composition lessons from the composer, at the duke’s home, the Hôtel de Castries. Mozart stated in a letter to his father that he thought the duke played the flute “extremely well” and that Marie’s playing of the harp was “magnifique”. As a composition student, however, Mozart found Marie thoroughly inept. The duke (until 1776, the comte de Guines), an aristocrat Mozart came to despise, never paid the composer for this work, and Mozart instead was offered only half the expected fee for the lessons, through de Guines’ housekeeper. But he refused it