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"The Hymn of Joy" [1] (often called "Joyful, Joyful We Adore Thee" after the first line) is a poem written by Henry van Dyke in 1907 in being a Vocal Version of the famous "Ode to Joy" melody of the final movement of Ludwig van Beethoven's final symphony, Symphony No. 9.
The following is a version with words attributed to the poet laureate Robert Bridges. [5] It is not a translation of the stanzas used within Bach's original version, but is inspired by stanzas of the same hymn that Bach had drawn upon: "Jesu, meiner Seelen Wonne", the lyrics of which were written in 1661 by Martin Janus (or Jahn), and which was ...
Alleluia! Alleluia! Sing a New Song to the Lord; Alleluia! Sing to Jesus; Alma Redemptoris Mater; Angels We Have Heard on High; Anima Christi (Soul of my Saviour) Asperges me; As a Deer; As I Kneel Before You (also known as Maria Parkinson's Ave Maria) At That First Eucharist; At the Lamb's High Feast We Sing; At the Name of Jesus; Attende ...
"Joyful, Joyful" is a song by contemporary Christian music band Casting Crowns from their fourth studio album Until the Whole World Hears (2009). Written by Mark Hall and Bernie Herms and produced by Mark A. Miller, the song is a re-interpretation of the hymn "Joyful, Joyful We Adore Thee" and Ludwig van Beethoven's Symphony No. 9.
"Ode to Joy" (German: "An die Freude" [an diː ˈfʁɔʏdə]) is an ode written in the summer of 1785 by German poet, playwright, and historian Friedrich Schiller. It was published the following year in the German magazine Thalia. In 1808, a slightly revised version changed two lines of the first stanza and omitted last stanza.
A list of all songs with lyrics about Jesus Christ, where he is specifically the central subject.This category contains both songs referring to specific moments of Jesus's life (birth, preaching, crucifixion) and songs of blessing, rejoicing or mourning where he is portrayed as a religious deity or examined as a cultural figure.
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Care-free, in joy and joy excelling. In his 1911 biography of Bach, Schweitzer wrote that the composer was often inspired by a single word to create an image of waves, [ 43 ] and recommended augmenting the cello with a viola and bassoon to give more weight to the image. [ 1 ]