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Many of their other songs contain some lines in Latin, have a Latin name and/or are supported by a choir singing in Latin. Rhapsody of Fire – Ira Tenax; Rotting Christ: Sanctus Diavolos: Visions of a Blind Order, Sanctimonius, Sanctus Diavolos; Theogonia: Gaia Telus, Rege Diabolicus; Κατά τον δαίμονα εαυτού: Grandis ...
Charles is a masculine given name predominantly found in English and French speaking countries. [1] It is from the French form Charles of the Proto-Germanic name ᚲᚨᚱᛁᛚᚨᛉ (in runic alphabet) or *karilaz (in Latin alphabet), whose meaning was "free man".
Charles Gounod took the melody line from Bach's Prelude No. 1 in C major from Book I of The Well-Tempered Clavier, and added his own harmonies, setting it to the words of the prayer Hail Mary (in Latin, Ave Maria). His setting was called Ave Maria; Grieg added an additional part for a second piano to existing solo piano sonatas by Mozart
Cortège et Litanie op. 19 No. 2 (Transcription of the piano version, 1921) Variations sur un Noël op. 20 (1922) Suite Bretonne op. 21 (1923) Symphonie-Passion op. 23 (1924) Lamento op. 24 (1926) Deuxième Symphonie op. 26 (1929) Sept Pièces op. 27 (1931) Seventy-Nine Chorales op. 28 (1931) Le Chemin de la Croix op. 29 (1931)
Carolus is the medieval Latin form of the name Charles. It was the name of various Frankish rulers, most notably of Charlemagne (742–814). The given name also gave rise to a surname in the 17th century.
Einleitung: Variations and Rondo on Hunting Chorus from Euryanthe, Op. 60 (piano and orchestra, 1824) Henri Herz: Variations brillantes sur la dernière valse de C. M. Weber, Op. 51; Grandes variations sur le Choeur des Chasseurs d'Euriante, Op. 62; Paul Hindemith: Symphonic Metamorphosis of Themes by Carl Maria von Weber (orchestra; 1943).
This is a partial list of recorded songs containing the '50s progression. The list does not include songs containing the progression for very short, irrelevant sections of the songs. In some cases, such as "Blue Moon", it includes notable remade recordings of songs ("covers") by other artists; but mostly the songs are shown in their original ...
Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]