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"Oh Cecilia (Breaking My Heart)" is a 2014 single by British pop band the Vamps, with a chorus adapted from Simon & Garfunkel's 1970 hit "Cecilia". The song appeared on their debut studio album Meet the Vamps (2014), but a later version featuring vocals from Canadian singer Shawn Mendes was released on 12 October 2014 as the album's fifth single.
"Cecilia" is a song by American musical duo Simon & Garfunkel. It was released in April 1970 as the third single from the duo's fifth and final studio album, Bridge over Troubled Water (1970). Written by Paul Simon , the song's origins lie in a late-night party, in which the duo and friends began banging on a piano bench .
Hymn to St Cecilia, Op. 27 is a choral piece by Benjamin Britten (1913–1976), a setting of a poem by W. H. Auden written between 1940 and 1942. Auden's original title was "Three Songs for St. Cecilia's Day", and he later published the poem as "Anthem for St. Cecilia’s Day (for Benjamin Britten)".
The song was released to rock radio, where it peaked at number 3 on the Billboard Mainstream Rock Songs [6] In January 2016, "Saint Cecilia" became the band's twenty-second song to make to the Top 10 on the US Mainstream Rock Tracks chart, tying them with Godsmack for the most Top 10 placements on the chart since August 1995 when Foo Fighters ...
John Tenniel, St. Cecilia (1850) illustrating Dryden's ode, in the Parliament Poets' Hall "A Song for St. Cecilia's Day" (1687) is the first of two odes written by the English Poet Laureate John Dryden for the annual festival of Saint Cecilia's Day observed in London every 22 November from 1683 to 1703.
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Paul Simon wrote the 1970 song "Cecilia" which title refers to the patron saint of music. [34] Lou Harrison wrote his Mass for St. Cecilia's Day for choir, harp, and drone (1983–86). Stalk-Forrest Group (later name changed to Blue Öyster Cult), recorded a song "St. Cecilia.". The EP was later released under the SFG name as the St. Cecilia ...
Brady's poem was derived from John Dryden's "A Song for St Cecilia's Day" of 1687. Following Dryden, Brady extols the birth and personality of musical instruments, including the idea that Cecilia invented the organ (see note 1). Purcell responds to the text by giving emphasis to the colours and dramatic possibilities of the baroque orchestra.