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Alternative Lyrics Refrain Every time I feel the Spirit moving in my heart I will pray. Yes, every time I feel the Spirit moving in my heart I will pray Verse 1 Upon the mountain, my Lord spoke, out his mouth came fire and smoke. All around me, looks so shine, ask my Lord if all was mine. [Refrain] Verse 2 Jordan River, runs right cold,
Alvin Ailey made "Rocka My Soul in the Bosom of Abraham" [4] the music for the triumphant finale of his internationally known choreography Revelations, which was born out of the choreographer's "blood memories" of his childhood in rural Texas and attending the Baptist Church with his mother. [5]
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".
It has been set to music by a number of composers, including Jeremiah Ingalls (1764–1838), Elizabeth Poston (1905–1987) and John Rutter. The first known publication, beginning The Tree of Life My Soul Hath Seen, was in London's Spiritual Magazine in August, 1761. This credits "R.H." as the submitter and presumed author. [1]
It is often included in Gospel music and a cappella concerts, songbooks, and Christian children's songbooks. [1] The song was written by George William Cooke. Cooke was born in Doncaster, Yorkshire, England in 1884 and died in Jamestown, New York in 1951. He was the author of "Joy in My Heart" which was copyrighted in 1925 (but not renewed).
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The music is a mixture of gospel, jazz, funk, soul, calypso, and soft rock. The show had its first staging at Ford's Theatre in Washington, D.C. from September 15 to October 10, 1971, [ 2 ] with subsequent stagings at the Locust and Walnut Street Theatres in Philadelphia.
"It Is Well With My Soul", also known as "When Peace, Like A River", is a hymn penned by hymnist Horatio Spafford and composed by Philip Bliss.First published in Gospel Hymns No. 2 by Ira Sankey and Bliss (1876), it is possibly the most influential and enduring in the Bliss repertoire and is often taken as a choral model, appearing in hymnals of a wide variety of Christian fellowships.
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