Posts tagged ‘Easter’

May 17, 2015

Easter Monday

by ada

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April 25, 2015

Altwiener Ostermarkt – cats on eggs

by ada

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April 23, 2015

Altwiener Ostermarkt – the eggs

by ada

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April 23, 2015

Altwiener Ostermarkt

by ada

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April 6, 2015

music for Easter Monday – Aria “Seele, deine Spezereien” from Johann Sebastian Bach’s “Oratorium Festo Paschali”, BWV 249

by ada

For my last music post of this Lent/Easter period let’s listen to one of the Great Traverso Moments of the Bach cantatas: Seele, deine Spezereien from the Easter Oratorio. The first version of it was performed almost exactly 290 years ago, on 1725 April 1. And, although I tend to find that Johann Adolf Scheibe‘s criticism of Bach’s “allzugrosse Kunst” actually has some truth in it, this music is still much more beautiful than anything else written during the past 290 years.

April 5, 2015

music for Easter Sunday – François Couperin: Motet pour le jour de Pâques

by ada

François Couperin (le Grand! – indeed he was great), court musician, composer and harpsichord teacher of the Sun King, Louis XIV, composed this Easter motet around 1700. It was most likely performed by his cousin, Marguerite-Louise Couperin, a soprano singer of the Chapelle Royale. Happy Easter!

April 21, 2014

music for Easter Monday – Jacques Champion de Chambonnières: Paschalia

by ada

For Easter Monday I chose a short (not even 2 minutes long) dance movement by one of the best French harpsichord players of the 17th century, Jacques Champion de Chambonnières. He served at the court of both Louis XIII and his son, Louis XIV, and among his pupils were Louis, Charles and François Couperin and Jean-Henri d’Anglebert. Although he was a very skilled musician who was held in high regard by his contemporaries, he also had his shortcomings that costed him his career: he couldn’t play the figured bass well enough to accompany the operas of Lully. And, as you might remember from yesterday’s post, Lully was a very influential man in the court of the Sun King (actually, he ruled the whole  17th century French music life. And he ruled it with a firm hand). So Chambonnières lost the game and had to go. He died a poor man, leaving exactly 142 small dance movements behind as a musical legacy. He published two collections of them during his lifetime, but some of them, as this short Paschalia, exist still only in manuscript.

What I love about this short piece of music is that it is like a dream within a dream: it has a hidden passacaille towards its end that, despite of being only 9 bars long (whole fifteen seconds in this recording), is a complete, perfect little piece in itself.

Because that’s how easy I am to please. You can buy my heart with fifteen seconds of ostinato.

April 20, 2014

music for Easter Sunday – Michel Corrette: Laudate Dominum de coelis

by ada

For Easter Sunday let’s have something fun: the motet Laudate Dominum de coelis  by Michel Corrette, the Telemann of France. He, just like Telemann, also played every existing instrument you can think of, including hurdy-gurdy. Being as altruistic as he was, he wanted to share his knowledge with everyone so he just kept on writing practical treatises (I’ve read only the one for the flute, but there are so many more). As for the music he composed, most of it can be described with the sole word: cute. All those glittery harpsichord pieces and delightful Noëls, really, pure cuteness. If we would all listen to more Baroque hurdy-gurdy music like this, we could make the world a funnier better place to live in.

The second movement might sound quaintly familiar which – would I not be so exhausted* – would bring me to the fascinating topic of copyright laws in the 18th century Europe and down the rabbit hole of the conflict of French and Italian music tastes during the 17th century, beginning with Giovanni Battista Lolli***, the most French (Frenchest?! Seriously, my English just keeps on getting worse with every word I type) composer of all times and trendsetter for generations of musicians who were – unlike him – indeed, French. He, btw, was also the one who monopolised the 17th century French music market through securing for himself the right to compose and produce operas, thereby financially ruining lots of his fellow colleagues. A smart businessman, he was.

* I spent the night with watching old series of Buffy, the Vampire Slayer. I went to bed at 4 am. Now I feel like I slayed vampires all night. Or, more precisely, like I were a slain vampire myself**

** I’m totally aware of the fact that this is not the way one is supposed to spend the night of the Resurrection. But I have my excuses, like 1) my family doesn’t celebrate Easter (we still will organize an Easter egg hunting for M&M though, because well, they are children and children deserve to have fun) 2) I’ve had my head and soul full of ICU lately and just crave some meaningless recreation time before starting in a new hospital on Tuesday 3) I’m reliving my teens.

*** you may have heard of him as Jean-Baptiste Lully, the man who lived for and died of French music (literally)

PS.: Surrexit Christus hodie by Esterházy Pál for 2012 and a proper Easter Sunday cantata by Johann Sebastian Bach for 2013: Der Himmel lacht, die Erde jubilieret.

PS 2.: Happy Easter and Happy Passover!

April 1, 2013

music for Easter Monday – Aria “Süß und rein muß der Christen Passah seyn” from the Easter Cantata “Weg mit Sodoms gift’gen Früchten”, TWV1:1534 by Georg Philipp Telemann

by ada

Telemann wrote a whole cycle of cantatas for the liturgical year and published them in a two-bands collection, under the title Der Harmonische Gottesdienst. I chose this aria from the cantata written for Easter Sunday in 1725 for my last post of the Easter series, because I think Telemann was a genius and I like how this short piece of music shows the purity of the new life after the feast of the Resurrection.

P.S.: I don’t really like the singer’s voice, but well, nothing is perfect on Earth. I’ve already learnt to accept the need of making compromises in life.

March 31, 2013

music for Easter Sunday – Der Himmel lacht, die Erde jubilieret, BWV 31 by Johann Sebastian Bach

by ada

Today’s music is the first choir, Der Himmel lacht, die Erde jubilieret from the cantata of the same title, written by Johann Sebastian Bach for the Easter Sunday of the year 1715, during his Weimar years. I wish I could identify myself with its jubilant atmosphere but well, neither the Heaven laughs nor does the Earth exult, because it actually snows again and I’m already so sick of this winter, it really feels like giving up, lying down and dying. Not exactly that brassy resurrexit-feeling one would like to have on Easter Sunday.

P.S.: Last year’s post was something Hungarian: Surrexit Christus hodie by Esterházy Pál. You can listen to it  here.

March 30, 2013

Salzburg – Grünmarkt

by ada

eggs at Grünmarkt

tulips

strawberries

Salzburg Grünmarkt cheese

Salzburg Grünmarkt

bread crumbles

daffodils

Jause

ducks

flowers

plants

dog at Residenzplatz

willow catkin

flowers

March 30, 2013

music for Holy Saturday – Jan Dismas Zelenka: Miserere in с, ZWV 57

by ada

For Holy Saturday (or Great Saturday as we call it in Hungary) is a music that was never intended to be part of the Easter liturgy: the first movement of Jan Dismas Zelenka‘s Miserere, my favourite Miserere of all times. Zelenka is the man I’m seriously planning to marry ever since I’ve first heard his music (that tells a lot about how stormy my love life lately is) (well, at least it isn’t an imaginary affair, because he definitely did exist) (some three hundred years ago, ehem). He was also highly valued by Johann Sebastian Bach who even asked him for some professional advice on composing. And that means something, I dare say. So it’s not just some girly crush – Zelenka was really that cool.

P.S.: Last year’s post about the cantatas Boi Beshalom and Kol HaNeshama by Cristiano Giuseppe Lidarti.

March 29, 2013

music for Good Friday – Aria “Es ist vollbracht” from Passio Secundum Johannem, BWV 245 by Johann Sebastian Bach

by ada

Today’s music ist the aria Es ist vollbracht from the St. John’s Passion of Johann Sebastian Bach. It doesn’t need any comments.

P.S.: Find last year’s Good Friday post, Maria (sopra la Carpinese) here.

April 9, 2012

365/100

by ada

The obligatory Easter Eggs And Chicken Kitsch Picture. Our family doesn’t really celebrate Easter, so I don’t have the necessary practice in egg dyeing, but this year I wanted to give it a try (because I wanted to post an Easter photo, hm). The result is not exactly what I call a success. I managed to produce only four eggs that have a halfway decent look, the other ten victims of my experimentation broke, are too ugly to show or did not change their colour at all. These poor things also look like ordinary brown eggs with weird white patches, but, well, they are mine and I like them.

April 8, 2012

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by ada

For Easter Sunday and for my last music post is something that hopefully restores our cruelly shattered national image a bit: the cantata No.29, Surrexit Christus hodie from the collection Harmonia Caelestis of Esterházy Pál, the one and only Hungarian baroque composer. During Baroque times we were too busy with singing our deprimating folk tunes, mourning about our terrible destiny and rebelling against the Turks or the Habsburgs or both at once (and, in the short but happy breaks of war, wildly dancing csárdás while being drunk) to care about art music. Our dance music was always quite fashionable among folks from other parts of Europe, and during the Romantic era composing music in stile Hongroise was a huge hype and it resulted quite a revival of our national music even in our own country, but Hungarian Baroque music, as genre, actually doesn’t exist except of this collection. Esterházy himself was more of a politician and soldier, who took part in the war against the Ottoman Empire pretty decently, than a man of culture.

The family Esterházy is a prominent example of the almost 1000 years old Hungarian nobility. They are the ones, who employed Haydn as their court composer, so their love of music (and their irresponsibility in financial matters, haha) resulted some excellent compositions of Haydn, like the Baryton trios or the Surprise Symphony. And, if you care about modern literature, you’ve sure already run into the family roman Harmonia caelestis (yes, the same title) of our internationally acknowledged contemporary writer Esterházy Péter.

This very collection was published in 1711 in Wien and contains 55 cantatas for the Catholic liturgy. They are written in a rather simple style with homophonic accompaniment, but, I think, from a man who spent his life mostly with fighting for freedom, and from an era of blood, sadness and war, it’s a nice attempt of trying to keep up with the world and culture outside of Hungary.

April 7, 2012

365/98

by ada

This year Seder evening fell on Good Friday, so for today I decided to look for some music that fits for both Passover and Easter purposes while being baroque. This means a very small circle of pieces to choose from. Before the liturgical reform of Salomon Sulzer in the 19th century, the amount of Jewish sacral compositions is insignificant. The music of Salomone Rossi, the one and only 17th century composer of Jewish origin, who wrote music for the liturgy, is more renaissance than baroque. The next composer who has anything to do with synagogal music, is Avraham Cáceres from the late 18th century, but I couldn’t find any single liturgical piece of his on YouTube. And than there are some non-Jewish people, like Carlo Grossi or Louis Saladin,  who were hired by synagogues to write music for prayers (like Franz Schubert by Salomon Sulzer, a hundred years later) but this didn’t happen too often.

Salomone Rossi l’Ebreo lived in the early 17th century, and wrote some really nice instrumental trio sonatas and some vocal music in the style of prima prattica. His set of motets, Shirim l’asher Shlomo, the Songs of Solomon contains mainly psalms and a few prayers. Although I cherish his cheerful and cute trio sonatas, typical for their genre and for the style of the transition period between renaissance and baroque in Italy, his motets and church music are just too much of stile antiqua for me. I’m rather uncomfortable with sheer renaissance polyphony. So I decided to rule him out and chose the cantatas Boi Beshalom and Kol HaNeshama, written by Cristiano Giuseppe Lidarti, an Austro-Italian baroque composer of non-Jewish origin, instead. He composed these pieces for the Portuguese Synagogue in Amsterdam around 1770. Despite of the late date, the character of the pieces is almost entirely baroque. It seems, Lidarti was rather old-fashioned in his compositional manners, which is a big luck for me :o)

While it’s not exactly Passover music and singing Alleluia at 10am on Easter Saturday is also a bit early for the Catholic liturgy, it’s the best musical compromise I’m able to come up with. Happy Passover and happy Easter!

March 23, 2012

365/83

by ada

I saw the Easter Bunny today. He was quite social.

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