Number ten in our Orthodox Easter Sunday soundtrack is "Seven Magnificat Antiphons/O Weishit" — composed by Arvo Pärt. This track comes to you from the On Being playlist for "Restoring the Senses: Gardening and Orthodox Easter" with Vigen Guroian. It's exquisite.
The ninth song in our Orthodox Easter Sunday soundtrack comes from the Hover Chamber Choir of Armenia, "The Healing Bird." This track comes to you from the On Being playlist for "Restoring the Senses: Gardening and Orthodox Easter" with Vigen Guroian. Happy Pascha!
Continuing our string of sacred choral music songs of Armenia, a prayer to the patriarch titled “Hayrapetakan Maghan.” This track comes to you from the On Being playlist for “Restoring the Senses: Gardening and Orthodox Easter” with Vigen Guroian. Happy Pascha!
The seventh song in our Orthodox Easter Sunday soundtrack, a chant of crucifixion, is part of the sacred choral music tradition of Armenia: "Our Es Myer Im" meaning"Where are you, my mother." This track comes to you from the On Being playlist for "Restoring the Senses: Gardening and Orthodox Easter" with Vigen Guroian. Happy Pascha!
Number five in our Orthodox Easter Sunday soundtrack is ”Otche Nash (Our Father)” by the Russian composer of liturgical music Nikolai Kedrov, Sr.
For the first song in our Orthodox Easter Sunday soundtrack, "Alleluia, Behold the Bridegroom" by the St. Petersburg Chamber Choir.
A spectacular feat of engineering and creativity that you have to see to believe. And just guess what inspired its making. Just marvelous!
The singer and composer Meredith Monk is a kind of archeologist of the human voice. She's also an archeologist of the human soul, with a long-time Buddhist practice.
A joyful story on how bluegrass music brought together a country music star and klezmer virtuoso to record the classic 18th-century hymn, "The Lord Will Provide."
Photo by Mohamed Nanabhay. (Follow “onbeing” on instagram)
The beautiful world of Tumblr delivers a gem to the threshold of our blogging door with this marvelous rendition of a Pixies classic. And, telegrammarian couldn’t have described this piano music any better:
One of the stars in the constellation of Grace Lee Boggs' world of change is hip-hop artist Invincible, whom the Village Voice calls Detroit’s "femme-emcee extraordinaire." Invincible (aka Ilana Weaver) is a rapper and spoken word artist who leads workshops through the Boggs Center's Detroit Summer project.
In one of these workshops, she leads kids in collecting and studying interviews with community members. They use these conversations as the source for their own hip-hop pieces and brainstorm alternative solutions to the problems raised by their interviewees. She says this about her friendship with Grace Lee Boggs (whom you'll hear in our podcast this Thursday):
Krista reflects on her time with Rosanne Cash and our lives of poetry and mystery, of loss and love, of time travel.
There's a great story Rosanne Cash tells about her father Johnny Cash, and a special performance at Carnegie Hall in 1994. As we were producing this segment, we longed to hear the original. What did they sound like together? How did Johnny Cash introduce his daughter? How did the crowd respond? Well, we looked around for a copy, any copy of this special moment — but came up empty. That is, until we found a bootleg copy. A truly remarkable story.
A Presbyterian minister's favorite spiritual music comes not from the sanctuary or Sunday morning choir, but from Saturday night taverns with Patty Griffin, Jennifer Knapp, and Over the Rhine.
Participants in the Royal School of Church Music Cathedral Course (RSCM) perform in Christ Church Cathedral Dublin. The RSCM promotes singing for people of ages by training choirs to sing church services to a high musical standard in cathedrals and churches throughout the United Kingdom. (photo: Richard Bloomfield/Flickr, cc by-nc-nd 2.0)
I was brought up as a Roman Catholic. My parents endeavoured to give me every opportunity to be exposed to a vast range of music, strongly encouraging our explorations, be they rock or classical music. In school the main exposure to singing was musical drama in the form of Gilbert and Sullivan with a few hymns in unison at every church service. It is understandable, therefore, that when my first exposure to sacred choral music at last arrived at age nineteen in University College Dublin Chamber Choir, it was like being hit with a mallet on the head.