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This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
In early March, Sibelius composed—purportedly in just three hours—a duo for cello and piano that he named Fantasia (later retitled Malinconia). The piece received its premiere on 12 March 1900 in Helsinki; the cellist was Georg Schnéevoigt, the dedicatee, accompanied by the pianist Sigrid Sundgren (the two later married in 1907). [1] [3]
Suite for Cello & Piano, Op. 9; 3 Morceaux, Op. 48; Rythmes délaissés; 3 Esquisses for Cello & Piano; Marie Jaëll. Cello Sonata in A minor (1881, rev. 1886) Leoš Janáček. Pohádka or Fairy Tale (1910, rev. 1923) Presto; Daan Janssens. Wie aus der Ferne, for cello & piano (2022) Betsy Jolas. Mon Ami (1974) Petites musiques de chevet (1989)
Sonata for cello and organ "From the earth" Peter Matthews [3] Four Seasons for cello and organ; Tim McKenry Relentless for Organ and 'Cello [4] Gustav Adolf Merkel Andacht; Wolfgang Mitterer. Zugabe, Sortisatio, Histrio (1989) Wolfgang Amadeus Mozart. Ave verum corpus (trans. Ernst-Thilo Kalke)
Aftermath (2001–02), song-cycle for baritone, violin, cello, & piano Sound the Flute (2004), for high voice, recorder & piano Eleven Songs for Susan (2007), for mezzo-soprano & chamber orchestra
Cello, 2 oboes, 2 horns, strings VIIb:3 Cello Concerto No. 3 D major c. 1780 or before Cello, orchestra lost VIIb:4 Cello Concerto No. 4 D major c. 1750-60 Cello, strings spurious, attributed to Giovanni Battista Costanzi: VIIb:5 Cello Concerto No. 5 C major 1899 Cello, orchestra spurious, attributed to David Popper [2] VIIb:g1 Cello Concerto G ...
for 2 violins, viola and cello: Chamber music: 1894: Air and Variations: for 2 violins, viola, cello and piano: Chamber music: 1894: Duo Concertante (Duet) for trombone and organ: Chamber music: 1894: String Trio in G minor: for violin, viola and cello: Chamber music: 8: 2: 1896: Fantasiestücke
This hymnal "consisted entirely of versions of Latin hymns, designed for use as Office hymns within the Anglican Church despite the fact that Office hymns had no part in the authorized liturgy. The music was drawn chiefly from plainchant", as was the case with the Veni Emmanuel tune for "O Come, O Come Emmanuel", the combination of which has ...