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Both stanzas are retained in Arthur Honegger's 1939 setting for mezzo-soprano and piano, whereas only the first stanza is included in Vytautas Miškinis' setting for mixed choir a cappella, O salutaris hostia, in 1991. The first stanza is also inserted as part of the Sanctus of Robert Schumann's Mass in C minor, Op. posth. 147 (1852–53
cross-indexing of choral music using criteria including musical genre, period, and number and voicing of choral parts; composer information; description and performance considerations can be included for works; contents of collections of choral music; community discussion such as through "Talk" pages related to composers or specific works.
Broke the fair music that all creatures made To their great Lord, whose love their motion swayed In perfect diapason, whilst they stood In first obedience, and their state of good. O may we soon again renew that song, And keep in tune with Heav'n, till God ere long To His celestial concert us unite, To live with Him, and sing in endless morn of ...
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
Lucky Old Sun is the twelfth studio album by American country music artist Kenny Chesney. It was released on October 14, 2008 as the first release for Blue Chair Records, Chesney's personal division of the BNA Records record label.
Blessed Hermann of Reichenau or Herman the Cripple (18 July 1013 – 24 September 1054), also known by other names, was an 11th-century Benedictine monk and scholar. He composed works on history , music theory , mathematics , and astronomy , as well as many hymns .
Described as a "reverent and faithful paraphrase of Revelation 4:8–11" and of the Johannine vision of unending worship in Heaven, it is an example of Heber's dutiful attempt to avoid excessive emotionalism. [2] A defining characteristic is that the text does not "initiate praise", but is rather an invitation to join in an endless song.
Brahms prepared an alternative version of the full seven-movement work to be performed with piano duet accompaniment, making it an acceptable substitute accompaniment for choir and soloists in circumstances where a full orchestra is unavailable. The vocal parts can also be omitted, suggesting that it was also intended as a self-contained ...