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The song was performed by Sherwood in their album The Favourite Songs of Henry VIII. Laura Wright recorded a version, featured on her album The Last Rose (2011). George Eliot refers to this song in her novel The Mill on the Floss, Book 6, Chapter 13, as being sung by character Stephen Guest.
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.
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)".
Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed by Henry Purcell to a text by the Irishman Nicholas Brady in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians.
The story of Amintor and Celia provides the narrative core for a number of restoration poems and songs, though the outcome of the story varies. A shorter version of the poem first appeared in Thomas Duffet's New Poems, Songs, Prologues and Epilogues, under the title Song to the Irish Tune. [2]
Celia's love for Oliver is sudden, intense and uncontrollable, despite the knowledge of Oliver's past wicked deeds. In this connection, it should be remembered that love in Shakespeare is an irrational passion. Celia's marriage with Oliver has been criticised by many critics.
"Celia" was written and recorded by Annah Mac. She wrote the song after her friend, Celia, asked to write a song about her. [2] The song is about "a best friend going astray, and trying to look after them." It was released as the fourth single from her album, Little Stranger.
"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 .