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" Abendlied unterm gestirntem Himmel" (Evening song under the starry heaven), WoO 150, is a song for high voice and piano by Ludwig van Beethoven composed in 1820. The work is a setting of a poem believed to be by Otto Heinrich von Loeben , who wrote it under the pseudonym H. Goeble.
The accessibility of this prelude, the "easy" key of C major, and its use of arpeggiated chords, have made it one of the most commonly studied pieces for piano students. [55] This prelude also served as the basis for the Ave Maria of Charles Gounod. [56]
They use texts from the King James Bible. In the sequence for the service, they are: Let Thy Hand Be Strengthened — for the recognition of the king as the rightful ruler; Zadok the Priest — for the anointing, i.e. recognition by God and the Church; The King Shall Rejoice — for the crowning itself
The Lord whom ye seek shall suddenly come to His temple: Acc. B: Haggai 2:6–7 Malachi 3:1: Haggai, splendor of the temple Malachi, the coming messenger: 6: But who may abide the day of His coming for he is like a refiner's fire: Air A: Malachi 3:2: 7: And He shall purify the sons of Levi: chorus: Malachi 3:3: Scene 3: 8: Behold, a virgin ...
Pressing a key on the keyboard makes the instrument produce sounds—either by mechanically striking a string or tine (acoustic and electric piano, clavichord), plucking a string (harpsichord), causing air to flow through a pipe organ, striking a bell , or activating an electronic circuit (synthesizer, digital piano, electronic keyboard).
Sonnet 137 is an English or Shakespearean sonnet.The English sonnet has three quatrains, followed by a final rhyming couplet.It follows the typical rhyme scheme of the form abab cdcd efef gg and is composed in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions.
A message etched into an ancient sphinx has proven to be, well, sphinx-like. The “mysterious” inscription has long been an enigma, puzzling scholars for over a century.
Development: The piano enters, playing similar scales used in the beginning of the second exposition, this time in D major rather than C minor. The music is generally quiet. Recapitulation: The orchestra restates the theme in fortissimo, with the wind instruments responding by building up a minor ninth chord as in the exposition.
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