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Litany of the Passion (hymn) Jesus Said, 'Father, Forgive Them' (tenor and male chorus recitative) – text from Luke 23:34; So Thou Liftest Thy Divine Petition (tenor and bass solo duet) The Mystery of the Intercession (hymn) And One of the Malefactors (bass solo and male chorus) – text from Luke 23:39–43; The Adoration of the Crucified (hymn)
Over the following years new, expanded editions of Sacred Songs were produced, containing many standard hymns as well as revivalist songs, the final edition from the 1900s containing 1,200 pieces. Sankey wrote the words for very few of these, but he composed and/or arranged new tunes for many of the hymns in the collection, particular for those ...
In 1970, the music group The Doors performed an impromptu version live in Chicago, with vocalist Jim Morrison changing the lyrics to "oh, the circle has been broken, me oh my Lord, me oh my." [ 5 ] In 1988, Spacemen 3 released a version of the song titled "May The Circle Be Unbroken" as one of the B-sides on their single "Revolution".
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
The Hymn of Jesus: for 2 mixed choruses, female semi-chorus and orchestra: text chosen and translated from the Apocryphal Acts of St. John, next to the hymn Pange lingua gloriosi proelium certaminis: Choral: 144: 38: 1919: Ode to Death: for mixed chorus and orchestra: words by Walt Whitman: Choral: 145: 1919: Short Festival Te Deum: for mixed ...
[3] [4] The imagery of shepherd and lamb features prominently in many movements, for example: in the aria "He shall feed His flock like a shepherd" (the only extended piece to talk about the Messiah on earth), in the opening of Part II ("Behold the Lamb of God"), in the chorus "All we like sheep", and in the closing chorus of the work ("Worthy ...
As a boy, Rennicks predominantly listened to and sang what he described as "Irish Protestant Baptist gospel music, choruses and hymns", and later claimed it was an influence on his process of learning harmony. [2]
The oldest chorale chosen for the Passion dates from 1525. Bach used the hymns in different ways, most are four-part setting, two are the cantus firmus of the two chorale fantasias framing Part I, one as a commenting element in a tenor recitative. Three of the texts Bach used for chorale settings are written by Paul Gerhardt.