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Surely, He hath borne our griefs. The dotted rhythm returns in instruments and voices in the chorus "Surely, He hath borne our griefs and carried our sorrows", the continuation of Isaiah's text, set in F minor. The chorus continues with the remainder of Isaiah 53:5 and ends on the words "the chastisement of our peace was upon him".
[3] [4] The imagery of shepherd and lamb features prominently in many movements, for example: in the aria "He shall feed His flock like a shepherd" (the only extended piece to talk about the Messiah on earth), in the opening of Part II ("Behold the Lamb of God"), in the chorus "All we like sheep", and in the closing chorus of the work ("Worthy ...
4) Surely He hath borne our griefs and carried our sorrows; yet we did esteem Him stricken, smitten of God, and afflicted. 5) But He was wounded for our transgressions; He was bruised for our iniquities. The chastisement of our peace was upon Him, and with His stripes we are healed.
The servant songs (also called the servant poems or the Songs of the Suffering Servant) are four songs in the Book of Isaiah in the Hebrew Bible, which include Isaiah 42:1–4; Isaiah 49:1–6; Isaiah 50:4–11; and Isaiah 52:13–53:12.
The evil that men do lives after them; The good is oft interred with their bones; So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious: If it were so, it was a grievous fault, And grievously hath Caesar answer’d it. Here, under leave of Brutus and the rest– For Brutus is an honourable man; So are they all, all ...
"To Bear Sin"). The hymn is popular at wedding ceremonies in Japan. [11] Both hymn instrumentals of "Hoshi no Sekai" and "Itsukushimi Fukaki" are used as background music for Key's 2004 visual novel Planetarian: The Reverie of a Little Planet, arranged by Magome Togoshi.
Jazz chords are chords, chord voicings and chord symbols that jazz musicians commonly use in composition, improvisation, and harmony. In jazz chords and theory, most triads that appear in lead sheets or fake books can have sevenths added to them, using the performer's discretion and ear. [ 1 ]
Its melody is first found in act 3 of Handel's 1705 opera Almira as a sarabande; [1] the score for this can be seen on page 81 of Vol. 55 [2] of Friedrich Chrysander.Handel then used the tune for the aria "Lascia la spina, cogli la rosa", or "Leave the Thorn, Take the Rose", for the character Piacere in part 2 of his 1707 oratorio Il trionfo del Tempo e del Disinganno (which was much later, in ...