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The song "Silent Worship" is a 1928 English-language adaptation for voice and piano by Arthur Somervell of Alessandro's aria "Non lo dirò col labbro" from Handel's 1728 opera Tolomeo (Ptolemy). It is the ninth song in Somervell's collection Ten Songs of Handel (8) and Giovanni Bononcini (2). [ 1 ]
Matthew 4:10 is the tenth verse of the fourth chapter of the Gospel of Matthew in the New Testament. Jesus has rebuffed two earlier temptations by Satan. The devil has thus transported Jesus to the top of a great mountain and offered him control of the world to Jesus if he agrees to worship him. In this verse, Jesus rejects this temptation. [1]
"Mercy" is a piano-driven song, [6] composed in the key of A with a tempo of 62 beats per minute, and a musical time signature of 4 4. [7] The lyrics of the song are testimonial, [8] as the singer affirms "that Jesus is alive in us and that He has rescued us from the grave."
At a time when Christianity was competing for prominence with other religions, the music and chants were often beautiful and elaborate to attract new members to the Church. [9] Music is an integral part of mass. It accompanies various rituals acts and contributes to the totality of worship service.
The song is a contemporary version of a classic worship song making the case for "10,000 reasons for my heart to find" to praise God. The inspiration for the song came through the opening verse of Psalm 103: "Praise the Lord, my soul; all my inmost being, praise his holy name".
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.
"Thine Be the Glory, Risen Conquering Son" (French: À toi la gloire O Ressuscité), also titled "Thine Is the Glory", [1] is a Christian hymn for Easter, written by the Swiss Protestant minister, Edmond Budry (1854–1932), and set to the tune of the chorus "See, the Conqu'ring hero comes" from the third section of Handel's oratorio Judas Maccabaeus.
Bach composed the cantata in Leipzig for the 27th Sunday after Trinity. [4] This Sunday occurs only when Easter is early. [5] The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, be prepared for the day of the Lord (1 Thessalonians 5:1–11), and from the Gospel of Matthew, the parable of the Ten Virgins (Matthew 25:1–13).