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Arabic Melody for cello and piano, Op. 4 No. 5; from Five Romances (songs) (1882–85) Elegy in D flat major for cello and piano (Une Pensee a F. Liszt), Op. 17 (1888) Two Pieces for cello and piano, Op. 20A (1888) (Melodie; Spanish Serenade) Chant du Ménestrel for cello and piano, Op. 71 (1900) Reinhold Glière. Ballade
This is a compilation of pieces for cello and pipe organ. See also the entries on cello and the List of compositions for cello and orchestra, List of compositions for cello and piano and List of solo cello pieces. Ordering is by surname of composer.
This is the second slow movement. The cello line is once again modal. It is accompanied by calm, liquid pulsation from the percussions and "mirror" chords played by the harp as well as phrases in backwards motion by the violins. Towards the end, the 12-note motif that opened the work reappears. Hymne (Hymn)
Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]
The New Century Hymnal is a comprehensive hymnal and worship book published in 1995 for the United Church of Christ.The hymnal contains a wide-variety of traditional Christian hymns and worship songs, many contemporary hymns and songs, and a substantial selection of "world music" selections (hymns and worship songs from non-European-American) origin, a full lectionary-based Psalter, service ...
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.
Poems for piano (1934/39) Sonata for violin and piano (1934) Concertino for piano and orchestra (1934) Trio No. 1 for violin, cello and piano (1936) Preludio, Ariosa e Fuga for orchestra (1936) Suite No. 5 for piano (unknown) Suite No. 6 "I Capricci di Ty" for piano (1938/39) Hispania (Triptych) for piano (1939) Sonata No. 1 for piano (unknown)
The hymn, immensely popular in the nineteenth century, became a Gospel standard and has appeared in hymnals ever since.. A crowd of admirers in New Zealand sang the hymn in 1885 at the railway station to the departing American temperance evangelists Mary Greenleaf Clement Leavitt of the Woman's Christian Temperance Union and Blue Ribbon Army representative R.T. Booth.
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