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Rithā’ al-Andalus (Arabic: رثاء الأندلس, variously translated as "An Elegy to al-Andalus" [1] or "Elegy for the fall of al-Andalus" [2]), also known as Lament for the Fall of Seville, is an Arabic qaṣīda nūniyya [3] [4] which is said to have been written by Andalusi poet Abu al-Baqa ar-Rundi in 1267, [2] "on the fate of al-Andalus after the loss, in 664/1266, of several ...
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In the liturgical books, the document General Roman Calendar, which lists not only fixed celebrations but also some moveable ones, is printed immediately after the document Universal Norms on the Liturgical Year and the Calendar, [2] [3] which states that "throughout the course of the year the Church unfolds the entire mystery of Christ and ...
As a poet, Orfelin is the most significant figure in Serbian poetry of the 18th century. He wrote a dozen longer poems, the most significant of which is Плач Сербији (Lament of Serbia, 1761) in two versions, folk version and Church-Slavonic. [15] [16] [17] It is an anti-Austrian, rebellious song. In that song, Serbia regrets the ...
The band toured constantly in 2010 starting in the UK in January through to the end of February. Their debut album LaFaro was released on Smalltown America Records on May 10, 2010 to universal acclaim both at home and on the mainland. Both "Tupenny Nudger" and "Leningrad" were under heavy rotation on Zane Lowe's BBC Radio One Evening show.
It combines astrological and calendar information at the top, with a combination of the agricultural life of the peasant, the life of the courtiers, and illustrations of the Duke's many castles in the background of several scenes. A typical simple scheme was: [1] January - Feasting; February - Sitting by the fire; March - Pruning trees, or digging
The tenor text is a modified quotation taken from the Book of Lamentations (1.2), the biblical lament about the fall of Jerusalem: Omnes amici ejus spreverunt eam, non est qui consoletur eam ex omnibus caris ejus. ('All her friends have scorned her; of all her beloved ones there is not one to comfort her.'),
LaFaro played on a borrowed instrument, while the pianist was quickly complaining of a headache, probably brought on by the strain in the studio." [ 3 ] Nonetheless, the resulting album turned out to be an influential and enduring classic that "brilliantly illustrates [Evans's] innovative concept of 'simultaneous improvisation.'" [ 4 ]