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“Femininomenon” has been described as an alt-pop, dance-pop, [4] and new wave [5] song. The song opens with production consisting of strings [6] [7] and piano, [8] as Chappell Roan reflects on an ex-partner who could not satisfy her.
The Valera 1602 Purified is the work of Iglesia Bautista Bíblica la Gracia (Grace Bible Baptist Church) in Monterrey. They have spent years on the purification process of the original Valera 1602 Spanish Bible. They produce a version of the 1602 Bible, which has been in print since 2001.
The classic Spanish translation of the Bible is that of Casiodoro de Reina, revised by Cipriano de Valera. It was for the use of the incipient Protestant movement and is widely regarded as the Spanish equivalent of the King James Version. Bible's title-page traced to the Bavarian printer Mattias Apiarius, "the bee-keeper".
The Tz'enah Ur'enah (Hebrew: צְאֶנָה וּרְאֶינָה Ṣʼenā urʼenā "Go forth and see"; Yiddish pronunciation: [ˌʦɛnəˈʁɛnə]; Hebrew pronunciation: [ʦeˈʔena uʁˈʔena]), also spelt Tsene-rene and Tseno Ureno, sometimes called the Women's Bible, is a Yiddish-language prose work whose structure parallels the weekly Torah portions and Haftarahs used in Jewish prayer ...
The song "Good Luck, Babe!" signaled a new chapter for one Midwest Princess. When she released the song in April, months after her album “The Rise and Fall of a Midwest Princess,” Roan called ...
Free scores of songs from the Llibre Vermell de Montserrat in the Choral Public Domain Library (ChoralWiki) Lyrics to all the songs [failed verification], with English translations; Llibre Vermell at Joyous Demaundes contains modern notations of the songs in PDF. Llibre Vermell - Transcription and translation with images of the original manuscript.
"Spanish Lady" is a traditional Irish folk song, also found in England. The Bodleian Library has several broadsides of an English ballad with this name, one dating from the 17th century. [ 1 ] Fragmentary or related versions from the US date from 1883.
Biblical Songs was written between 5 and 26 March 1894, while Dvořák was living in New York City. It has been suggested that he was prompted to write them by news of a death (of his father Frantisek, or of the composers Tchaikovsky or Gounod, or of the conductor Hans von Bülow); but there is no good evidence for that, and the most likely explanation is that he felt out of place in the ...