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Old American Songs Second set for voice and piano (also adapted for voice and orchestra) (1952) The Little Horses (lullaby) Zion’s Walls (revivalist song) The Golden Willow Tree (Anglo-American ballad) At the River (hymn tune) Ching-A-Ring Chaw (minstrel song) Arrangement of Preamble for a Solemn Occasion for organ (1953)
He has also published several books of arrangements for solo singers and solo piano, including 10 Christmas Songs for Solo Voice, 10 Spirituals for Solo Voice, and 10 Hymns and Gospel Songs for Solo Voice. In 2004, Hayes premiered a contemporary setting of the ancient hymn Te Deum at Carnegie Hall, set for choir and soloists. [4]
In setting the four hymns to music, Vaughan Williams chose poems by Jeremy Taylor, Isaac Watts, Richard Crashaw, and Robert Bridges (a translation from the Greek). The cycle is sometimes called Four Hymns for Tenor and Strings and performed in an orchestrated version with a string orchestra replacing the piano part.
Atwood was known as "the most imitated pianist in gospel music" for his improvisations and arrangements of traditional hymns. [ 2 ] [ 3 ] In his treatise on the increasing importance of the piano in twentieth-century American Protestant evangelism , The Origins of Evangelical Pianism , author Theodore L. Gentry called Atwood "probably the most ...
for male chorus and string orchestra with brass ad libitum (or piano) English words translated from the Sanskrit by the composer Choral: 103: 1909: O England, My Country: for unison voices and orchestra (or piano) words by G. K. Menzies Choral: 104: 1909: A Song of Fairies: for female chorus a cappella: Choral: 109: 1910: Christmas Day: Choral ...
Concerto for Piano and Orchestra, No. 3 in A major; Concerto for Piano and Orchestra, No. 4 in G minor; Concerto for Piano and Orchestra, No. 5 in D major; Concerto for Piano and Orchestra, No. 6 in B-flat major; Concerto for Piano and Orchestra, No. 7 in A major; Concerto for Piano and Orchestra, No. 8 in C major; Selim Palmgren
Ode at a Solemn Music "Blest pair of sirens" for chorus and orchestra, p. 1887; Oratorio "Judith" for solo voices, chorus & orchestra, p. 1888 "Ode on St. Cecilia's Day" (Pope) for soprano, bass, chorus & orchestra p. 1889 "L'Allegro ed il Penseroso" (Milton) for soprano, bass, chorus & orchestra p. 1890
Benedicite for soprano, chorus, and orchestra (1929) Three Choral Hymns (1929) Magnificat for contralto, women's chorus, and orchestra (1932) O How Amiable (1934) arrangement of a hymn for chorus and organ, originally written for the Abinger Pageant; Five Tudor Portraits for contralto, baritone, chorus, and orchestra (1936)