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The orchestra consists of oboes, strings and basso continuo of harpsichord, violoncello, violone and bassoon. Two trumpets and timpani highlight selected movements, in Part I the song of the angels, Glory to God in the highest , and with timpani the closing movements of both Part II, Hallelujah , and of Part III, Worthy is the Lamb .
In setting the four hymns to music, Vaughan Williams chose poems by Jeremy Taylor, Isaac Watts, Richard Crashaw, and Robert Bridges (a translation from the Greek). The cycle is sometimes called Four Hymns for Tenor and Strings and performed in an orchestrated version with a string orchestra replacing the piano part.
Johann Christian Ludwig Abeille. Grand Concerto in D major, Op. 6 (1763), for one piano four-hands and orchestra; Carl Friedrich Abel. 6 Concertos for harpsichord (or pianoforte), two violins and cello, Op. 11 (first printed in 1771; F, B-flat, E-flat, D, G, C)
contralto or mezzo-soprano and orchestra (or piano) pub. 1897 as Love alone will stay — C. Alice Elgar: Boosey 37.3: 1899 "Sabbath Morning at Sea" song: from Sea Pictures contralto or mezzo-soprano and orchestra (or piano) — Elizabeth Barrett Browning: Boosey 37.4: 1899 "Where Corals Lie" song: from Sea Pictures contralto or mezzo-soprano ...
Music for a Prince: Two Pieces for Orchestra (1948) Penguinski (1933) Piano Concerto No. 2 in C, Op. 39 (1925) Serenade for 4 solo violins and string orchestra (1917) Puck's Minuet (1917) Piano Concerto No. 1 in C minor, Op. 4 (1913) Suite for string orchestra (1942) Elegy for viola, string quartet and string orchestra, Op. 15 (1917)
The Hymn of Jesus, H. 140, Op. 37, is a sacred work by Gustav Holst scored for two choruses, semi-chorus, and full orchestra. It was written in 1917–1919 and first performed in 1920. It was written in 1917–1919 and first performed in 1920.
Christ songs are hymns to Jesus of Nazareth as the Christ. [2] Literary criticism makes it possible, on the basis of stylistic criteria, to elaborate Christ songs and liturgically used portions in the New Testament. [3] [4] In letters and texts some songs are quoted and mentioned, e.g. For example, the hymn to Christ in Philippians 2:6–11. It ...
The practice of naming hymn tunes developed to help identify a particular tune. The name was chosen by the compiler of the tune book or hymnal or by the composer. The majority of names have a connection with the composer and many are place names, such as Aberystwyth or Down Ampney .
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