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Concerto for Harp and Chamber Orchestra, Op. 69 (1977) [45] Geirr Tveitt. Harp Concerto No. 1 (Lost) Harp Concerto No. 2 "Concerto Eroico" op.170 (1957) [46] Heitor Villa-Lobos. Harp Concerto (1953) Georg Christoph Wagenseil. Concerto for Harp and strings in F, WWV 281 (1761) John Williams. On Willows and Birches (2009) Mario Zafred
God is love, let Heav'n adore him − Hymn Tune, Twigworth (1964) God be in my head for SATB unaccompanied (1966) Benedictus es, Domine for SATB & Organ (1967) Preces and Responses for SATB unaccompanied (1967) Lord By Whose Breath All Souls and Seeds are Living - Hymn Tune, Erwin (publ. 1967) O Holy City seen of John − Hymn Tune, Sancta ...
Christian Hymns Negro Spirituals Sacred Harp Shape note. Genres and subgenres. Southern Gospel Gospel blues Bluegrass gospel Christian country music Country Gospel
Originally concluded with 'Alleluja' chorus (HG 20, p. 161), short instrumental ending probably written by Handel for Walsh publication. First performed with "Athalia" (HWV 52) 293 Organ F major ?26 March 1735 London, Covent Garden Theatre 1738 Opus 4 No. 5 Performed with revival of "Deborah" (HWV 51). 294 Harp, later Organ B-flat major
"Dial Out" fits the album. On "Glorianna (Hymn a la Femme)" Vangelis uses synthesizers and orchestral percussion to support the operatic vocals. "Rotation’s Logic" is sort of pop-electronica. "The Oracle of Apollo" combines harp with synthesized strings and bass, capturing with "Glorianna (Hymn a la Femme)" the best elements in Vangelis style.
"Glorious Things of Thee Are Spoken", also called "Zion, or the City of God", [1] is an 18th-century English hymn written by John Newton, who also wrote the hymn "Amazing Grace". Shape note composer Alexander Johnson set it to his tune "Jefferson" in 1818, [ 2 ] and as such it has remained in shape note collections such as the Sacred Harp ever ...
Hymn to St Cecilia, Op. 27, for unaccompanied choir (poem by W. H. Auden; 1942) A Ceremony of Carols, Op. 28, for treble voices and harp (1942); an alternative arrangement for mixed voices and harp (or piano) is popular as well; Rejoice in the Lamb, Op. 30, for four soloists, choir, and organ (text by Christopher Smart; 1943)
Fuguing tunes are sacred music, specifically, Protestant hymns. They are written for a four-part chorus singing a cappella. George Pullen Jackson has described the fuguing tune as follows: In the fuging tune all the parts start together and proceed in rhythmic and harmonic unity usually for the space of four measures or one musical sentence.