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"Nothing Gold Can Stay" by American composer William Thayer Ames, [6] a choral setting of the poem. "Nothing Gold Can Stay" by American composer Cecil William Bentz, [7] a choral setting of the poem in his opus, "Two Short Poems by Robert Frost." "Nothing Gold Can Stay" [8] by American composer Steven Bryant, [9] an instrumental chorale ...
Endymion is a poem by John Keats first published in 1818 by Taylor and Hessey of Fleet Street in London. John Keats dedicated this poem to the late poet Thomas Chatterton. The poem begins with the line "A thing of beauty is a joy for ever". Endymion is written in rhyming couplets in iambic pentameter (also known as heroic couplets).
[14] "You Hold Me Now" was originally recorded by Christian music group Hillsong. Rebecca has stated that "You Make Everything Beautiful" is her favorite song. She commented on the meaning saying, "We added 'You Make Everything Beautiful' to the record at the last possible minute, but I couldn't leave it behind.
Twitter user Ronnie Joyce came across the poem above on the wall of a bar in London, England. While at first the text seems dreary and depressing, the poem actually has a really beautiful message.
"Everything Is Beautiful" is viewed as a major departure for Stevens, as the song is a more serious and spiritual tune, unlike some of his previous ("Gitarzan" and "Ahab the Arab") and subsequent ("The Streak") recordings, which were comedy/novelty songs. The record's success allowed Stevens (while still recording his comedy and novelty songs ...
"All Things Bright and Beautiful" is an Anglican hymn, also sung in many other Christian denominations. The words are by Cecil Frances Alexander and were first published in her Hymns for Little Children of 1848. The hymn is commonly sung to the hymn tune All Things Bright And Beautiful, composed by William Henry Monk in 1887.
"It is a beauteous evening, calm and free" is a sonnet by William Wordsworth written at Calais in August 1802. It was first published in the collection Poems, in Two Volumes in 1807, appearing as the nineteenth poem in a section entitled 'Miscellaneous sonnets'.
In 1971, Les Crane used a spoken-word recording of the poem as the lead track of his album Desiderata. [20] His producers had assumed that the poem was too old to be copyrighted, but the publicity surrounding the record led to clarification of Ehrmann's authorship and the eventual payment of royalties.