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Dies Natalis is a cantata for solo voice and string orchestra. The opening introductory orchestral movement is followed by four movements for accompanied voice in which Finzi set mystical texts by the seventeenth-century English poet Thomas Traherne (1636/37–1674).
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Although published in the north, Wyeth's Repository of Sacred Music, Part Second (1813), had a profound influence on Southern shape note tune-books. Of the 41 folk-hymns introduced here, 10 were used by Ananias Davisson in the Kentucky Harmony (1816), 20 by William Walker in the Southern Harmony (1835), and six in the Sacred Harp (1844). [10]
O Do Well Unto Thy Servant; My Soul Cleaveth To The Dust; Wipe Away My Sins; Forgive Me, Lord, My Sin; Blessed Are Those That Be Undefiled; Arise, O Lord, And Hear; With All Our Hearts; I Call And Cry To Thee; O Sacred And Holy Banquet; When Jesus Went Into Simon The Pharisee’s House; Blessed Be Thy Name; O Praise The Lord II; Sing and ...
setting hymn "O Haupt voll Blut und Wunden" Partita on From Heaven Above to Earth I Come: Christmas: Partita on St. Anne: Prelude on In Babilone: Reprise (Reflections on "E'en So, Lord Jesus") Memorial: Savior of the Nations, Come: Advent: Schümcke Dich: Communion: setting hymn "Schmücke dich, o liebe Seele" Sine nomine: All Saints Day ...
A music download is the digital transfer of music via the Internet into a device capable of decoding and playing it, such as a personal computer, portable media player, MP3 player or smartphone. This term encompasses both legal downloads and downloads of copyrighted material without permission or legal payment.
Symphoniae sacrae I (literally: Sacred Symphonies, Book One) is a collection of different pieces of vocal sacred music on Latin texts, composed by Heinrich Schütz, published in 1629. He set mostly psalms and excerpts from the Song of Solomon for one to three voices, with various instruments and continuo.
With the growing popularity of minimalist music in the 1960s and 1970s, which often broke sharply with prevailing musical aesthetics of serialism and aleatoric music, many composers, building on the work of such minimalists as Terry Riley, Philip Glass and Steve Reich, began to work with more traditional notions of simple melody and harmony in a radically simplified framework. [2]