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As a final resort he organized a concert-tour through Germany and Russia, the details of which are contained in his extremely interesting Autobiography. At these concerts his own music was the staple of the programmes, [69] and it met with great success, though not always played by the best of orchestras, and not always well by the best, as his own testimony shows; for his compositions are very exacting, and call for every resource known to the modern orchestra. The Germans were quick in appreciating his music; but it was not until after his death that his ability was conceded in France.

In he was appointed librarian of the Conservatory, and in was made a member of the French Academy. These were the only honors he received, though he long sought to obtain a professorship in the Conservatory. He married her, but did not live with her long, owing to her bad temper and ungovernable jealousy; though after the separation he honorably contributed to her support out of the pittance he was earning. In the knowledge of individual instruments and the grouping of them for effect, in warmth of imagination and brilliancy of color, and in his daring combinations and fantastic moods, which are sometimes carried to the very verge of eccentricity, he is a colossus among modern musicians.

He died in Paris, March 8, His Autobiography bears ample testimony to the enthusiasm with which he worked. He says:—. How vigorously I struck out on that grand sea of poetry caressed by the playful breeze of fancy, beneath the hot rays of that sun of love which Shakspeare kindled, always confident of my power to reach the marvellous island where stands the temple of true art! Whether I succeeded or not it is not for me to decide. The work opens with a fiery introduction representing the combats and tumults of the two rival houses of Capulet and Montague, and the intervention of the Prince.

The second scene, which is for orchestra only, an impressive declamatory phrase developing into a tender melody, representing the sadness of Romeo, set in tones against the brilliant dance music in the distance accompanying the revel of the Capulets, is one of the most striking effects Berlioz has accomplished, and illustrates his astonishing command of instrumentation. As their strains die away in the distance the balcony scene between Romeo and Juliet is given by the orchestra alone in a genuine love-poem full of passion and sensuousness. No words could rival the impassioned beauty of this melodious number.

It is a scherzo intensely swift in its movement and almost ethereal in its dainty, graceful rhythm. The instrumentation is full of subtle effects, particularly in the romantic passages for the horns. In the fifth scene we pass from the tripping music of the fairies to the notes of woe. It is divided in four parts, the first containing three, the second four, the third six, and the fourth five scenes, the last concluding with an epilogue and the apotheosis of Marguerite.

It was first produced in Paris in November, , and had its first hearing in this country Feb. Berlioz has left in his Autobiography an extremely interesting account of the manner in which he composed it. Though he had had the plan of the work in his mind for many years, it was not until that he began the legend. During this year he was travelling on a concert-tour through Austria, Hungary, Bohemia, and Silesia, and the different numbers were written at intervals of leisure.

The extraordinary effect it produced at Pesth made me resolve to introduce it in Faust, by taking the liberty of placing my hero in Hungary at the opening of the act, and making him present at the march of a Hungarian army across the plain. A German critic considered it most extraordinary in me to have made Faust travel in such a place. I do not see why, and I should not have hesitated in the least to bring him in in any other direction if it would have benefited the piece.

No doubt because Shakspeare was not a German. He concludes:. I did not search for ideas, I let them come; and they presented themselves in a most unforeseen manner. When at last the whole outline was sketched, I set to work to re-do the whole, touch up the different parts, unite and blend them together with all the patience and determination of which I am capable, and to finish off the instrumentation, which had only been indicated here and there. I look upon this as one of my best works, and hitherto the public seems to be of the same opinion.

I had no fashionable cantatrice to sing the part of Marguerite. The result was that Faust was twice performed to a half-empty room. The opening scene introduces Faust alone in the fields at sunrise on the Hungarian plains. The second part Scene IV. At its close Mephistopheles warns him of the approach of Marguerite and conceals him behind a curtain.

She enters, and in brief recitative tells her dream, in which she has seen the image of Faust, and discloses her love for him. It is followed by their lovely and graceful minuet, in which Berlioz [80] again displays his wonderful command of orchestral realism. He bids him sign a scroll which will save him from the consequences of the deed, and Faust thus delivers himself over to the Evil One. Johannes Brahms, one of the most eminent of living German composers, was born at Hamburg, May 7, His father was a double-bass player in the orchestra in that city, and devoted his son at a very early age to his own profession.

His first piano teacher was Cossell; but to Edward Marxsen, the royal music director, he owes his real success as a composer. He remained with him however but a very short time, for in October of that year they parted company. Brahms had attracted the notice of Liszt and Joachim, and it may have been through their advice that the musical partnership was dissolved.

The next year appeared his first works,—three sonatas, a trio and scherzo for piano, and three books [83] of songs. After a visit to Liszt at Weimar he settled down as chorus-conductor and music-teacher at the court of Lippe-Detmold, where he remained a few years. The text is a paraphrase of certain verses in the nineteenth chapter of Revelation, and reads as follows:—. The first part closes with a climax of [85] power and contrapuntal effect hardly to be found elsewhere outside the choruses of Handel.

After the opening ascription, a short fugue intervenes, leading to a fresh melody alternately sung by both choruses. The work is one of extreme difficulty, as the two choirs are treated independently and their harmonies are complicated, though blended in general effect. Neither choir receives assistance from the other.

History of the Little Flock Hymn Book

In fact, each rank of voices is required to perform music of the most exacting kind, so that a perfect performance of this great jubilee hymn requires singers of trained skill and more than ordinary intelligence. When thus given, few choruses of modern times reveal such artistic richness and symmetrical proportions. Max Bruch, one of the most successful choral composers of the present time, was born at Cologne, Jan.

His father was a government official, and his mother a singer of more than ordinary ability. He received his early instructions, under her watchful supervision, from Professor Breidenstein, at Bonn. In he continued his studies with Hiller, Reinecke, and Breuning, at Cologne; and at this time began to produce compositions which gave unusual promise.

In he was musical director at Coblenz, and subsequently at Berlin, where he conducted the Singakademie. In he was appointed chapel-master to the Prince of Schwarzburg-Sondershausen,—a post which he held until Since that time he has also been honored with a call to the directorship of the Liverpool Philharmonic Society. For some years past he has lived at Bonn and Berlin, and devoted himself exclusively to composition. To make the text of the libretto intelligible, the incidents leading up to it must be briefly told.

Bele died, and left his kingdom to his two sons. Soon thereafter Frithjof sailed across the fiord to demand the hand of Ingeborg. Her brothers Helge and Halfdan scorned his suit, whereupon Frithjof swore they should never have help from him. King Ring, a neighboring monarch, hearing of the trouble between them, improved the opportunity to menace their kingdom.

The brothers appealed to Frithjof for aid, but he turned a deaf ear; and when they took the field against Bele, he returned to Baldershage and made love to Ingeborg, with whom he exchanged rings. Finding upon their return that Frithjof had been there without their permission, they required him as a penalty to go to the Orkneys and collect the tribute which the [89] islanders had neglected to pay since the death of Bele.

It is at this point that the text of the cantata begins. The first scene pictures the return of Frithjof and his joy at the prospect of seeing Ingeborg, whose hand the false brothers had promised him if he were successful. The text closes with this incident. The king recognized him, and moved by his sad story became his friend and appointed him guardian of his heir.

Ring died soon after, and Frithjof married Ingeborg. Helge and Halfdan made war against him, Helge was killed, and Halfdan became his vassal. The choral finale of this scene, with its effective instrumentation, is a masterpiece of dramatic music, worthy to rank with the highest work of its kind in opera. After the storm, the calm. In that calm occurs a melodical episode of an extraordinary character. The melody itself is so unlike anything which precedes or follows it that it must have been interpolated.

It is a composition mostly for male chorus, and is admirably adapted for festival purposes. The poem, which celebrates the defeat of Xerxes, is by H. Lingg, and runs as follows:—. The instrumental introduction to the work is written in massive style, its grand chorus being elegantly interwoven with runs by the wood instruments, preparing the way for the festive adorning of the ships,—a very beautiful allegro movement.

This is followed by a slower movement which pictures the breaking of the bond, the rolling of the sea, and the trampling of the horses with all that vividness for which the composer is famous. After a short repetition of the opening allegro the hymn closes. It would be hard to find a more admirable musical setting of a poem than this, whether in the strength and beauty of its vocal parts, or in the color, vigor, and general effectiveness of the instrumentation. The heroic defence of Lucknow by its British garrison in , during the Sepoy rebellion, is one of the most memorable events in the English administration of India.

The world is familiar with the story of the disaffection of the native troops, [94] the failure of Sir Henry Lawrence, who was in command, to overcome the mutiny, the stubborn defence which the brave little garrison made against the repeated assaults of the native troops, their temporary assistance from Outram and Havelock, who cut their way into the city, and the final relief which was brought to them by Sir Colin Campbell. Of all the stirring incidents of the siege, however, not one has made such a strong impression as the fanciful story of the Scotch girl who heard the slogan of the MacGregors far away and knew the Highlanders were coming to their rescue.

The salient point of the story is thus versified in the former:—. Weak as the text may be, the strong healthy music of the cantata makes ample compensation. The former are vigorous and somewhat declamatory in style, but the choruses are very melodious and stirring. It lends spirit and color to the finale, and closes up the work with a fine burst of powerful effect.

The work was first produced in , and has met with great success in Germany, England, and the United States. It is divided into [96] two parts, the first containing four, and the second, six scenes. In performance, however, the parts of Arete and the Spirit of Anticlia, as well as of Nausicaa and Pallas Athene, are usually doubled.

Hermes, the messenger of the gods, appears to him and announces that the Immortals, touched by his sorrow, will rescue him and restore him to Penelope. The spirits of children, brides, youths, and old men successively appear to him and narrate their mournful stories. Then Tiresias the bard warns him of the Sirens, and Anticlia his mother bids him hasten to Penelope.

In the third scene he passes the isles of the Sirens, and escapes [97] their wiles through the firmness of his companions. The second part opens with the lament of Penelope and her prayer to the gods to restore her husband to her. The sixth scene changes to the island again, and discloses Odysseus awakened from his slumbers by the sports and dances of Nausicaa and her joyful maidens.

He appeals to her for help and refreshment, and is bidden to partake of their hospitality. In the next scene a sumptuous banquet is spread for him, at which he reveals his identity and asks that he be allowed to return to his home. The fair Nausicaa, though suddenly enamoured of the handsome stranger, conceals her passion and expedites his departure. The eighth scene gives us a sketch of Penelope weaving the garment, the ruse by which she kept her suitors aloof.

The ninth scene opens with the arrival of Odysseus at Ithaca. The sleeping wanderer is borne ashore by his comrades, and upon awaking [98] from his slumbers fails to recognize his own country until Pallas Athene appears to him. The goddess convinces him that he is at home once more, and then discloses the plot of the suitors, who are revelling in his palace, to compel Penelope to select one of them that day in order that they may gain possession of his property, as well as their conspiracy for his destruction, from which she promises to protect him.

The final scene describes the glad acclamations of the people as they recognize Odysseus, and the joy of Penelope as she welcomes him home once more. The orchestral introduction is very free and flowing in character, and its themes are taken from the duet of Odysseus and Penelope, which occurs later on. In the second or Hades scene the music changes from its bright color to a gloomier minor tone.

Dudley Buck, one of the most eminent of American organists and composers, was born March 10, , at Hartford, Conn. He studied both the piano and organ, the latter with such success that at the age of sixteen he was appointed organist at St. In he went to Europe and entered the Leipsic Conservatory, where he studied the piano with Plaidy and Moscheles, and composition with Hauptmann and Richter. A year and a half later he went to Paris, and there acquainted himself with French music and musicians.

He returned to this country in , and accepted the position of organist at the Park Church, Hartford, but after the death of his parents removed to Chicago, where he obtained the position of organist at St. In that city his home became a musical centre. Like many other musicians at that time he left the city, seeing no prospect of advantage to him where it would require a long time to recover purely material losses. He went with his family to Boston, where his fame was already established, and obtained the position of organist at St.

After remaining a short time in that city he removed to New York, where he has since resided. His life has been a very busy one, and he has had an important influence, both personally and in connection with Theodore Thomas, upon the progress of music in this country. It is not extravagant to say that there are few Protestant churches whose music has not been dignified and improved by his contributions, particularly of anthems and Te Deums, as well as of compositions for the organ, of which he is a consummate master.

Singing societies are also indebted to him for many elegant four-part songs. The last two cantatas were issued in Europe, the one in Germany and the other in England, and thus came to this country bearing a foreign imprint,—a novelty for an American composer. While hunting one morning, Don Munio de Hinojosa captures a cavalcade which is escorting the Moorish Prince, Abadil, and his betrothed, Constanza, on the way to their wedding. The Prince, all escape being cut off, seeks to purchase the good-will of Don Munio with his gold and jewels, and implores him not to separate him from his affianced.

The Don, touched by their unfortunate condition, invites them to spend a fortnight at his castle, promising that the nuptials shall be celebrated there, and then they shall be released. The lovers accept, and Don Munio is faithful to his promise. Shortly after their departure he is ordered by the king to join in the expedition to Palestine. In one of the encounters of this crusade he is killed by Abadil, who does not [] recognize his former benefactor with his visor closed. His death is greatly mourned in Spain, but they are consoled when Roderigo, a messenger from Palestine, arrives and tells them that one evening while strolling near the Holy Sepulchre he saw seventy Christian knights riding in ghostly procession, with the late Don Munio at their head.

This is regarded as an assurance that all is well with him. Requiescat in pace. These are the incidents which Mr. Buck has chosen for musical treatment, and he has done the work excellently well. After the orchestral introduction follows a spirited hunting-song for male chorus. The next scene opens in the chamber of Donna Maria, wife of Don Munio, who laments his absence in a minor strain, to which succeeds a rondo movement. Close of vesper service in the chapel of the castle. Escobedo, the chaplain, with the women, and such retainers as have not followed Don Munio on his expedition.

The next number is an Ave Maria for full chorus, which is very beautifully harmonized. In the next scene we encounter Don Munio in the forest, and are treated to the conventional hunting-song. After the tumult ends, Abadil very melodiously appeals to Don Munio, followed by a brief arioso in which the latter makes his terms, and a spirited chorus of gratitude to the Don, which close the first part.

A duet ensues between the two lovers on the castle terrace, which is very Italian in its flavor, and one of the most effective numbers in the cantata. The next two numbers furnish the wedding music,—a happy bridal chorus, and a charming bolero for orchestra. In the next scene occurs a vigorous duet between Don Munio and his wife, in which he informs her of his speedy departure for Palestine, followed by a stirring battle-hymn for male chorus. Buck has rarely written anything better in his sacred music than this beautiful requiem.

The National Centennial celebration at Philadelphia was inaugurated May 10, , with a special musical programme, in which the cantata with the above formidable title occupied a prominent place. It must be acknowledged that the work did not make a deep impression, although it contains some excellent musical writing, and for two sufficient reasons. First, it is not a work of musical genius or inspiration, as it was ordered by a commission for a popular show. It was not singular in this respect.

Second, the stilted and unmusical lines furnished by Mr. Lanier must have hampered the composer in every verse. This is all the more remarkable because Mr. Lanier himself was a practical musician. He had been for some time a violinist in the Peabody orchestra at Baltimore, under that accomplished leader, Asgar Hamerik. It is remarkable, therefore, that he should not have recognized the difficulties he was placing in the way both of the composer and the performers. The ode has sixty-one lines, divided into eight stanzas of unequal lengths.

It sketches the past and present of the nation, the powers which opposed its progress and hindered the development of its freedom, and the elements which at last produced success, closing with cheering auguries for the future, and a welcome to the world. All this might have been set to smooth and fluent verse, which would readily have adapted itself to music; but what composer could have treated successfully such verses as these? Even in the last verse, where the composer must make his climax, and the singers must be most effective, they are confronted with this unsingable line:—.

The only musical verse is the reply of the angel to Columbia in the midst of her ragged and cacophonous meditation, which the composer selected as a solo for bass voice: [20] —. The prelude for orchestra determines the motive of the whole cantata, and is very spirited; for here, at least, the composer was not hampered by words. The opening verse,—. Then follows the whispering of the Huguenots and Puritans, commencing sotto voce , and gradually increasing to a forte at the close.

Leopold Damrosch. Norton as Elsie, Mr. Frederick Harvey as Prince Henry, Mr. Rudolphsen as Lucifer, and Mr. Whitney as Friar Paul. Prince Henry of Hoheneck, stricken down with an incurable ailment, after vainly seeking a remedy, is visited by Lucifer disguised as a physician, who tempts him to adopt a remedy prescribed by a doctor of Salerno; namely, the blood of a maiden who will voluntarily offer herself as a sacrifice. Elsie devotes her life to the Prince, and they journey together to Salerno, where her death must take place. Arrived at the spot, the Prince, touched by her magnanimity, entreats her to forego her purpose; but she insists upon it, bids him farewell in the school, and enters an inner apartment with Lucifer disguised as a friar.

Before the tragedy can be consummated, the Prince bursts open the door, with the aid of his followers, and rescues her. The pair return to the castle on the Rhine, where of course the rapidly convalescing Prince marries Elsie, and the story closes with an epilogue reciting the discomfiture of Lucifer and the triumph of good over evil.

Out of this material the composer has constructed his work, eliminating from and adding to the original matter to suit his musical scheme, but at the same time preserving the general spirit of the story. It is a simple, tranquil hymn, but full of that sacred sentiment which this composer expresses so admirably in music. Edmund C.

Stedman versified for this work as follows:—. The next number is for orchestra only, and once more the instruments are used for a continuance of the action by a description of the carousal of the [] monks in a characteristic allegro bacchanale, the abbot testifying his indignation through the medium of the trombone and the use of the Gregorian melody. The sentiment of the latter is expressed by the following verse:—. The ninth scene changes to Genoa. The twelfth reaches the climax in the scene at the college of Salerno between Lucifer, Elsie, and the Prince, with accompaniment of attendants, and is very dramatic throughout.

Scene I. In the chapel of St. George at Palos, Aug. They entered upon the enterprise full of awe, committing themselves to the especial guidance and protection of Heaven. Scene II. On the deck of the Santa Maria. The greater part of that time was passed in almost hopeless solicitation, poverty, and ridicule.

Scene III. The Vesper Hymn. Scene IV. Discontent and Mutiny. Scene V. In distant Andalusia. Scene VI. Land and Thanksgiving. A short allegro brings the scene to a close. The fifth scene is a tenor recitative and love-song of a most graceful character, and one which will become a favorite when it is well known:—. The final scene is very elaborate in its construction, and brings the work to a sonorous and stately [] close.

It was written in and first published in England. Its name reveals its source, and the composer has made compensation for the privilege of using Mr. The libretto was prepared by the composer himself, who has shown great skill in making his selections in such manner as not to disturb the continuity of the story.

The purely philosophical portions are omitted, and only those are retained which have a human interest. In this manner he has avoided the obstacle which the lack of human sympathy in the poem, beautiful as it is, would otherwise have placed in [] his way. The text, as will be remembered, has no definite metre, much of it being in blank verse, and does not readily lend itself to musical expression; but it will be conceded that the composer has also overcome this difficulty in a very remarkable manner.

The cantata is divided into four parts,—Prologue, the Renunciation and Temptation, the Return, and Epilogue and Finale. It begins with a fugue, opened by the basses, simple in its construction but stately in theme and very dignified throughout. A tenor solo describes the six long years of wandering, followed by a characteristic chorus of voices of earth and air bidding him pass to the tree under whose leaves it was foretold that truth should come to him for the saving of the world. The final number is a masterpiece of choral work both in the elaborateness of its construction and the majesty of its effect, and brings the cantata to a close with the mystic words:—.

He was a student at the Royal Academy of Music in , and in the following year gained the Mendelssohn scholarship. From to he studied at Cologne with Hiller, and in returned to London, where he engaged for a time in literary pursuits. His abilities as a writer are very clearly shown in the librettos to his works.

In he was appointed conductor of the orchestra at the Brighton Aquarium, and since that time he has devoted himself to teaching and composition. Corder is one of the most ambitious and promising of all the younger English composers, and his music shows in a special degree the influence of Wagner. The adaptation has been made in a very free manner, but the main incidents of the poem have been carefully preserved. John by Merlin, where she must sleep.

The next number, a very dramatic dialogue for soprano and tenor, gives us the conversation between Arthur and Gyneth, and leads to an energetic full chorus with very descriptive accompaniment, picturing the bloody tourney and its sudden interruption by the appearance of Merlin the enchanter.

This number alone is sufficient to stamp Mr. Corder as a composer of extraordinary ability. The work is largely in narrative form; but this, instead of being a hindrance, seems to have been an advantage to the composer, who has not failed [] to invest his music with dramatic force that is remarkable. Corder is credited with being an ardent disciple of Wagner, and his cantata certainly shows the influences of that school.

It is throughout a vigorous, effective work, and gives promise that its composer will yet be heard from outside the English musical world. Frederic H. Cowen, the favorite English song-writer, was born at Kingston, Jamaica, Jan. His first teachers were Benedict and Sir J.

Goss, with whom he studied until During the next three years he continued his musical education at the conservatories of Leipsic and Berlin, returning to England in As a song-writer, Mr. Cowen is also well known; many of his lyrics, especially those written for Antoinette Sterling and Mrs. Aline Osgood, the American singers, having obtained a wide-spread popularity. After a brief orchestral introduction, a three-part chorus altos, tenors, and basses tells the story of the ancient King to whom an heiress was born when all hope of offspring had been abandoned, the gay carousal which he ordered, and the sudden appearance of the twelve fays, guardians of his house, with their spinning-wheels and golden flax, who sing as they weave:—.

In beauty of melody and gracefulness of orchestration this chorus of the fays is specially noticeable. Its charming movement, however, is interrupted by a fresh passage for male chorus, of an agitated character, describing the entrance of the Wicked Fay, who bends over the cradle of the child and sings a characteristic contralto aria:—.

Following this aria, the male chorus has a few measures, invoking a curse upon the Fay, which leads to a full chorus of an animated character, foretelling that there shall dawn a day when a young voice, more powerful than witchcraft, will save her; at the close of which the guardian fays are again heard drawing the thread and weaving the woof in low, murmuring tones, with a spinning accompaniment. It is followed by a trio soprano, tenor, and bass , with chorus accompaniment, announcing the departure of the fays, and leading to a very melodious tenor solo, with two graceful orchestral interludes, which moralizes on what has occurred and closes the prologue.

Unobserved the Princess leaves the banqueting-hall, glides along a gallery, and ascends the staircase to a turret chamber. The second scene opens in the turret chamber, where the Wicked Fay, disguised as an old crone, is spinning. She hears the dance-music [] again, but the Fay gently draws her back and induces her to touch the flax. As she does so, the Fay covertly pricks her finger with the spindle.

The answer comes in an animated prelude, through which is heard the strain of a horn signal, constantly growing louder, and heralding the Prince, who enters the silent palace, sword in hand, among the sleeping courtiers, knights, and ladies. His kiss awakes her, and as she springs up, the dance-music at once resumes from the bar where it had stopped in the scene with the Wicked Fay. An impassioned duet follows, and the work closes with the animated waltz-chorus which opened the first scene. At the age of thirteen he went to work for an uncle, who resided in the village where the schoolmaster was a proficient musician.

The latter, recognizing his ability, gave him lessons on the organ, and allowed him to copy music. Piano lessons followed, and he had soon grounded himself quite thoroughly in counterpoint. At the age of sixteen he was admitted to the organ-school of Prague, of which Joseph Pitsch was the principal. Two years later he secured a position in the Bohemian Opera House at Prague, then under the direction of Mayer, where he remained until , in which year he left the theatre and devoted himself to teaching, with the prospect of earning two hundred and fifty dollars a year.

These were hard days for the young musician; but while he was there struggling for a bare subsistence, he continued writing compositions, though he had no prospect of selling them or of having them played. Shortly after this he received the appointment of organist at the Adelbert Church, Prague, and fortune began to smile upon him. His Symphony in F was laid before the Minister of Instruction in Vienna, and upon the recommendation of Herbeck secured him a grant of two hundred dollars.

Since that time he has risen rapidly, and is now recognized as one of the most promising of living composers. The Russians, Servians, Slovaks, Lithuanians, and Poles all have poems in which the ghostly ride of the spectre and the maiden forms the theme. In general, the story is the same. The Spectre comes for his Bride and she rides away with him through the night, amid all manner of supernatural horrors, only to find at the end that she has ridden to the grave with a skeleton. In his version, unlike the German, the Spectre and his Bride make their grewsome journey on foot.

In the opening scene she is represented gazing at a picture of the Virgin, mourning the death of her parents and the absence of her lover, who has failed to keep his promise to return. His parting words were:—. She has faithfully followed the counsel. The three years have expired, but still no tidings have come. As she appeals to the Virgin to bring him back, the picture moves, the flame of the lamp upleaps, there is an ominous knock at the door, and the voice of the apparition is heard urging her to cease praying and follow him to his home. She implores him to wait until the night is past, but the importunate Spectre bids her go with him, and she consents.

On they speed over rough bowlders, through thorny brakes and swamps, attended by the baying of wolves, the screeching of owls, the croaking of frogs, and the fitful glow of corpse-candles. One by one he compels her to throw away her prayer-book, chaplet, and cross, and resisting all her appeals to stop and [] rest, at last they reach the churchyard wall.

He calms her fears with the assurance that the church is his castle and the yard his garden, and bids her leap the wall with him. She promises to follow him, but after he has cleared it, sudden fear seizes her; she flies to a tiny house near by and enters. A ghastly scene takes place; spectres are dancing before the door, and the moonlight reveals to her a corpse lying upon a plank. As she gazes, horror-stricken, a knock is heard, and a voice bids the dead arise and thrust the living one out. Thrice the summons is repeated, and then as the corpse opens its eyes and glares upon her, she prays once more to the Virgin.

At this instant the crowing of a cock is heard. Autumn Winds, A minor. The Music Box, A. March of the Elves, A minor. In Venice, B flat. Grade 2 V 2 Blake, D. Elementary Pedal Study, C. The Old Rocking Chair, C. See-Saw, F. Plantation Melody, F. Nocturne, F. Pedal Study for Left Hand Hymn of Praise, C. Alone, C. Boat Song, F. Sunday Morning, C. The Old Mission, D. Jack and Jill, C. The Trombone, C. The Stately Poplar, C. Echo, G. Song of the Harp, G. The Clock right hand Serenade, F. May-time, F. Grades Blake, D. Smooth Riding, F.

Chord Forms, C. The Frog, C. The Toe Dancer, C. An Invitation, C. The Military Ball, C 1 p. May-Day, C. Mountain Streams, C. Man-in-the-Moon, C. Hunting Song, C. Up Hill and Down Dale, Zephyrs, C. On the Shore, C. A Busy Family, C. Fox and Hounds, C. Cottontail, C. The Mill, F. The Whirlpool, C.


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The Bumble-Bee, C. Over the Hurdles, C. On the Toboggan, C. Raindrops, A minor. Brother Woodpeckers, C. The Race, C. Yellow Butterflies, C. Daddy-Long-Legs, C. Hickory-Dickory-Dock, C. The Tumble Weed, G. Over the Wall, F. The Swing, G. Coasting, G. Spring, C. Summer, G. Scout March, C. Company G, G. The Jaunting Car, C. Marching Song, C. At the Seashore, F. The Big Guitar, F. The Serenader, G. Little Papoose, G. Vespers, C.

A Relay Race, C. The Lace-maker, C. Banjo Song, C. In the Big Tent, C. April Showers, A minor. The Snare Drum, C. An Old Game, F. The Drum Corps, C. Gnomes and Sprites, C. Echoes, G. Old Black Joe, G. Spanish Dance, D minor. Stepping Stones, C. Across the Brook, F. Moonglow, G. Drills, C.

Grade 1 Blake, D. The Pussy, C. Winter Winds, C. Summer Showers, C. Swinging, C. Marching, C. Butterfly Wings, C. The Big Clock, C. Sheep in the Meadow, F. A March, C. Sea Gulls, C. The Country Band, C. Snow, D minor. Sing Tra-la, C. The Drum, G. Sunset, E minor. Christmas Bells, D. Rain Is Coming, A minor. Snow Blankets, C. A Speckled Froggie, G. A Highland Laddie, G. Playing Catch, C. A Fairy Ring, F. Birds and Fishes, A minor.

Boating, F. The Country Fair, G. Call of Spring, F. Bunny Rabbit, C. Waltz, C. The Organ Man, G. Church Bell, F. An Eskimo Lullaby, C. The Cello, D minor. A Jolly Workman, C. The Call of the Ocean, C. Peasant Dance, C. Cradle Song, D. Even Song, B flat. The Woodpecker, C. Procession in the Forest, C. Laughing Waters, C. An Exciting Story, E minor. A Close Chase, F. The Aeroplanes Start Off!

Seven O'Clock, G. Barcarolle, G. Grade 3 Blake, D. Captain Kidd, A minor. Columbus, C. Grade 2 Vi Blake, D. The Juggler, C. The King Returns, C. The Courtyard Fountain, F. Garden Romance, C. The Dancers, D minor. The Jester, G. Secondo, 2 pp. Trailing Moon Vines, C: Primo, 3 pp. The Quick-Step, C: Primo, 3 pp. The Clock Man, F: Primo, 3 pp. Grade 2 Vi Blake, M. Grade 2 Blanchard, H. Diller and E. Grade 2 Bliss, P. Six hands. The Sunrise Trail, C: Primo, 3 pp.

Brother, Row! G: Primo, 2 pp. The Maid in Green, F: Primo, 4 pp. Secondo, 3 pp. Schirmer Copyright, by P. Tausig; ed. B major. G minor. A flat major. B minor. Grade 3 Brahms, J. Brown, Bound form only. Complete form only Grade 4 Burgmuller, F. Etudes Faciles , Op.

Evans Publishing. La Candeur, C. La Styrienne, G. Ballade, C minor. La Pastorale, G. Douce Plainte, G minor. La Petite Reunion, C. La Babillarde, F. Innocence, F. Inquietude, E minor. Progres, C. Ave Maria, A. Le Courant Limpide, G. La Tarentelle, D minor. La Gracieuse, F. La Chasse, C. Barcarolle, A flat. Tendre Fleur, D. Le Retour, E flat.


  1. Yours to Measure Ours to Treasure.
  2. Abduction (Outcasts Book 1).
  3. Gospel of uvinigyz.tk-4 | Precept Austin.
  4. La langue sous le joug (French Edition);
  5. Santa Beatriz da Silva (Portuguese Edition)!
  6. Marianne Webb papers, 1899-2017 | Southern Illinois University Special Collections Research Center.
  7. La Bergeronnette, C. La Chevaleresque, C. Consolation, C. Grade 4 Burleigh, C. Prelude in C major. Prelude in G major. Prelude in A minor. Prelude in D major. Prelude in E minor. Prelude in B minor. Book II, Op. Prelude in F sharp minor. Prelude in C sharp major. Prelude in G sharp minor. Prelude in A major. Prelude in B major. Prelude in E major. Book III, Op. Prelude in G flat major. Prelude in E flat minor. Prelude in B flat minor. Prelude in D flat major. Prelude in A flat major. Prelude in F minor. Book IV, Op. Prelude in C minor. Prelude in G minor. Prelude in E flat major.

    Prelude in D minor. Prelude in B flat major. Prelude in F major. Grade 7 Chopin, F. Revised and fingered by A. F minor. A flat. Grade 4 Chopin, F. Grade 7 Chopin, i n F. Marks Music, Grade 6 Chopin, 12 f. Edited and fingered by R. Grades Chopin, F. Schirmer: 5 1. D flat major. C sharp minor. Grade 3A Conte, P. I, Nos. F sharp minor. D flat. Cramm, H. The Passing Under of the Thumb, G. Clearness in Velocity, D. Light Motion in Quiet Staccato, B flat.

    Evenness in Double Passages, E flat. Cxerny, C. I- II. Schirmer, Vol. I, Books 1 and 2. Complete form only Vol. II, Books 3 and 4. Complete form only Cxerny, C. Twenty-four Progressive Studies; Op.


    • Bach’s Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works - Online Library of Liberty?
    • Codicil.
    • BIBLICAL FACTS ABOUT WINE: IS IT A SIN TO DRINK WINE??
    • Online Library of Liberty;
    • Next Big Thing.
    • Geremia Tucker E LAngelo Della Morte (Italian Edition).
    • Großartige Zitate über Pianisten.

    Grade 4 Daquin, C. Jobert, , Durand, Magnolias, D. The Deserted Cabin, B minor. To My Lady Love, A. Mammy, D flat. Diller, A. March of the Musketeers, G minor. Sir Pantaloon, G. Danse Laujon , C. The March of the Three Kings, A minor. Fun, Fun, C. Sister Ann, C. Up in the Sky, C. Sing, Sing, C. Ride a Cock-Horse, C. Baa, Baa, Black Sheep, Harlequin, C. Study in G. Marching Song, G.

    Pierrot, C. Bohemian Song, F. Over the Meadow, C. The Disagreeable Lover, F. Good King John, G. If I Were a Nightingale, Study in F. Bohemian Melody, F. The Vicar of Bray, G. Evening, G. My Country, 'Tis of Thee, C. Slumber-Song, G. All the Birds Have Come Again, F. Hop, Hop, Hop, D.

    Quelques belles citations a propos des pianistes :

    Rhythmic Study, G. Rhythmic Study, F. Jig, D minor. Cradle-Song, F. Northern Song, A minor. Hunting Song, F. Pussy-Cat, G. The Town Clock, G. Raindrops, C. In the Summer Time, C. Tramp, Tramp, Tramping, G. Gathering Mussels, G. Rustic Song, C. The Nightingale, F. Melody, F. Folk-Song, F.

    In Springtime, D. Going to the Fair, E minor. Planting the Cabbage, F. Russian Cradle-Song, D minor. The Man with the Bagpipes, D. Berceuse, D. Waltz, A minor. Bring a Torch, Jeanette, Isabella, F. Vesper Song, G. Two Russian Tunes, G. French Song, A. German Folk Tune, A. Flemish Song, E minor. Swabian Folk Song, G.

    Minuet, Provencal Melody, G. Bergerette, French Melody, A minor. Song of the Shepherdess, French Melody, G. Melody in A minor, Russian Folk Tune. Old French Drinking Song, G minor. Gigue, Adapted from Corelli, B flat. Minuet in F major, Mozart. Gavotte and Musette, Old French, G minor. Old French Air, G. Musette, Bach, D. Minuet in G major, Mozart. Two French Folk Tunes, G. Two Minuets, Bach. Allegro, Mozart, B flat. Sonatina in G, Beethoven. Grade 2B Diller, A. Sarabande, Handel, D minor.

    Minuet, No. Skipping, C. Hippity Hop! Christmas Song, C. Little Bo-Beep, F. Natural, Harmonic and Melodic Minor. But the rest of that hometown crowd, Jesus was amazed at that their unbelief , amazed at their lack of trust. So, Jesus went about the villages teaching, and he called the twelve and began to send them out two by two, and he told them to travel light, really light. Is that how you like to travel? Not me. But there were some things that Jesus did give them in addition to that staff to lean on , and they are no small things.

    Whatever power and authority had been given to Jesus, he now gave to the twelve. And around that core identity is woven a set of rock-solid practices that will sustain you, encourage you, shape you, challenge you, call you, guide you. Rex, this is what we are doing today—we are calling forth the identity that God has already given you as a beloved Son, and we are lifting up the values and practices that will help you mind the gap that just seems to be part of the warp and weft of being human.

    These baptismal vows:. Persevering in resisting evil, and whenever you fall into sin, repenting and returning to the Lord;. Seeking and serving Christ in all persons, loving your neighbor as yourself;. Striving for justice and peace among all people and respecting the dignity of every human being;. No, it is an awesome thing we gather to witness today, and it is most definitely the power of God through the Holy Spirit who is doing the acting.

    In addition to power and authority, Jesus gave the twelve something else. Any guesses? We are not meant to be Lone Rangers as we go about this enterprise of dealing with the unclean spirits that are active in our world—and their name truly is legion —many. We are meant to do this together. And in those moments when you doubt that, ask your parents and godparents to tell you about this community and what this community did for each another the week you were baptized—we prayed someone over as they died, we prayed two people through hard surgeries, we prayed over you as the Spirit knit you into the Body of Christ.

    And from that infinitely secure place, we teach each other how to steward the power you, too, are given this day. We teach each other how to move into the world with authority. We dare to believe, that in the power of God, we can close the gaps in this world that are swallowing people whole. So Rex, you are in for a wild, wild ride. You will die more times than you can imagine, but you will rise that many more.

    There will be rough patches along the way, but there will also be times of unadulterated bliss. Welcome to the Body of Christ and to a life that can teach you how to travel lightly, and yet, at the same time, be so incredibly, abundantly full. So, last week, Jesus was crossing the Sea of Galilee, and this week, he has crossed it again. When he gets out of the boat, a crowd is immediately around him. Then, one of the leaders of the synagogue named Jairus came, and when he saw Jesus, he fell at his feet and he begged him for help.

    But the crowd was large , and that crowd followed Jesus, and they pressed in on him. Now there was a woman who had been suffering hemorrhages for twelve years. She kept losing blood, and she had been to doctor after doctor. She had endured much, and she had spent all that she had. No doubt she suffered despair and depression every time she tried an avenue of treatment that then failed dashing her hopes. It was amazing that she had any energy left to pursue wellness at all. She had tried everything that medicine could offer her; she was at the end of her rope. Well, the woman came up behind him and touched his cloak, and immediately her hemorrhage stopped; and she felt in her body that she was healed of her disease.

    Jesus understand energy and power, and he knew that power had just gone forth from him. But Jesus knew some exchange had happened— power had gone out of him which meant power had been received somewhere else. He looked all around to see who had done it ; he looked all around to see in whom had that power landed.

    The woman knew. She knew what had happened to her, and she wanted to disappear, stay silent, run away; she was afraid. And why? Because in that time, in that religious culture, a woman with a flow of blood was ritually impure , and if she touched a man in that state, she made him impure. Big no-no. She had reason to be afraid to step forward, but when that wholeness takes over in you, you can face your deepest fears. She was shaking, but she came forward and fell down before him and told him the whole truth —every last bit of it—which meant she also shared with him all the pain of twelve years of suffering and disappointment and exhaustion.

    Meanwhile, Jairus is waiting. Wow, what must have been going through his head as he watched all of this? Why trouble the teacher any further? Jesus , always skittish of the sensational, allowed no one to follow him except Peter, James, and John. When they came to the house of the leader of the synagogue, it was a crazy scene—people weeping and wailing, a huge commotion.

    The child is not dead but sleeping. And they laughed at him. At this they were overcome with amazement. Jesus strictly ordered them that no one should know this, and told them to give her something to eat. These healings are wild, and they shake us up. When your child is sick, you long for them to be well. When you suffer from chronic illness, you long to be made well. There are lots of ways to have your life-force drain away. Where are you losing life? Where is your life draining away , slipping through your fingers? Where are you feeling exhausted and isolated and cut-off?

    Where are you feeling not well , un-whole? How many avenues have you been down trying to find that wholeness?

    The Common Christian Community Devotional

    What wholeness are you yearning to know? Can you just risk touching his cloak? Can you trust that there is some power in him that really can flow to you, and that that power can make you whole in ways that will bring you peace and restore you and knit you back into a web of relationships where you can thrive? Can you lay aside all your positions and status and identities and bring before Jesus your most vulnerable need , that place where you know you have no control and only longing? Can you see that some things are not really dead, but only asleep, just waiting to be awakened?

    Can you risk the displacement that comes when that which you thought was dead really does wake up? It never was just about that woman , or Jairus , or his little girl.

    The Standard Cantatas, George P. Upton

    The crowd pressing in on Jesus might be large, and it might feel impossible, but that woman mattered to Jesus , Jairus mattered to Jesus , his little girl mattered to Jesus , and so do you. I love the water, but I have a good, healthy respect for its power—my father taught me that. And I have been caught in some fierce storms. I have seen sunny days turn to raging storms in the blink of an eye.

    The force of the wind bent the trees all the way down to the water as I brought our ski boat back up the creek. He was angry with me, but beneath all that anger was full-on fear. He knew what wind and water could do. He understood the sheer force and power they held; they were not to be messed with. And I have been on a boat on the Sea of Galilee. We crossed it at sunset one night, and it was gorgeous, beautiful, peaceful. But that body of water sits down in a bowl and is surrounded by mountains. We were told that fierce storms can blow up, just like that, with huge waves.

    Those first followers of Jesus were fishermen, so they knew daggone well what could happen to their boat. The wind started to blow, hard, and the waves grew larger, and those waves were pummeling the boat. Pretty soon, the boat was getting swamped, and they were fighting for their life. Be still! A dead calm. Have you still no faith? Powerful storms. Crazy wind. Powerful waves. Cross-currents that can destroy your little boat. And they were just trying to get to the other side. Could there be a better story to capture what we are feeling in the wake of the shootings Wednesday night at Emanuel African Methodist Episcopal Church in Charleston, South Carolina?

    African-Americans just trying to get to the other side to a life where they and their families can live in safety and thrive and worship and pray. And their boats are getting swamped by waves of hate and violence, and pummeled by a perfect storm of winds that blow from places of deep-seated, systemic racism, enhanced by a culture of violence, supported by privilege that is blind to how bad the storm really is.

    Our boat is sinking, too. And somehow, the people who perpetrate this violence, who spew this hate, who are so consumed with fear of the other, they are in a boat, too. Tell me, what typical white 21 year old in America just happens to know the flag of Rhodesia. You are taught such things. Dylann Roof says he did not grow up in a racist family or environment, but there are other powerful forces that shape us. He learned this somewhere. This hate is taught, and it has been taught for generations—sometimes overtly, sometimes covertly, but taught all the same.

    And the hard truth is— we are in the boat being pummeled, AND we are a part of the storm itself. When we lack the courage to do the hard work, and to be in the hard conversations, and to examine, fearlessly, how this whole system has benefitted those of us whose skin is white, then we are a part of the storm. And in the moment of dead calm that follows, in this great , spacious , violent , mighty , strong calm that follows—we might feel awe, but we might also feel a lot of fear, because in this calm, we are going to have to put our oars in the water and start working our tails off to get to the other side.

    No, Jesus demands more of us. He is going to give us enough calm to look at all these forces in the clear light of day and to understand our part in them. He is calling us to work hard to get to the other side because the kingdom awaits us on that sho re. And our salvation, our wholeness, depends on it. If they are wounded, so are we; we are ONE body.

    And as ONE body—we die together, we rise together, we cry together, we rejoice together. Yesterday, Pastor Reggie Hunt, the African-American pastor of Cornerstone Church, called me to get together at this morning with other pastors to pray and share communion before heading to our services. Between our two services, I hustled over to his church at Hardin Park to be a part of that.

    We, as pastors, are meeting for coffee this week to talk about how to lead our people in this time, and to talk about our own feelings. Trust me, a church shooting strikes fear in all of our hearts. We will be calling all of our people to come together for a time of prayer in the very near future. So, step one — PRAY. Pray in your own prayers for our country and that the racism that infects our hearts and the heart of our country may be transformed into a force for love.

    And, wherever and whenever you can, pray together, across races, across traditions. Step three — think of one African-American person that you can call this week just to tell them that you are thinking about them and praying for them. Our African-American friends and neighbors need to know that we are thinking about them, praying for them, and that we are committed to this work. Step four — be fearless in entering conversations about race and racism. I know this is vulnerable; I feel intensely vulnerable every time I enter this arena. We need to stay in the arena. Step five —if you want to understand the depth and power of forgiveness that is necessary for the work ahead of us; if you want to see what a Christian witness of such forgiveness looks like, go out on the internet and watch what the families of those who died said to Dylann Roof at his first hearing on Friday.

    The qualities that St. Paul names today are good ones to cultivate: purity, knowledge, patience, kindness, holiness of spirit, genuine love, truthful speech, and the power of God. I want to leave us with St. Lukans; our heart is wide open to you. There is no restriction in our affections, but only in yours. In return…open wide your hearts also. There is a lot going on in our hearts today, and all our texts bring us exactly what we need. And we might as well head straight into the energy in the room. Ted has been in discernment with me since late February, and there is something calling him, some invitation to lean more fully into the fullness of his life and being.

    As I said to the Sr. How wonderful that we are going to have a real-life case study, right before our eyes, in the dynamics of change. And while this is a communal case-study, I think all of this applies to change at a personal level in our own individual lives. So, how many of us just relish living through change? If control is our thing, if we approach life like the game of whack-a-mo—just keep knocking down those things that pop up until you get them all back in their boxes which never happens, by the way —if control and whack-a-mo are our thing, then this season is going to call us out of our comfort zone and into a space of openness and trust, expectancy and attentiveness.

    We are about to get a really good spiritual workout as a community. Now then, there are some things that I am aware of right off the bat. Ted, you are truly one-of-a-kind, and we will not be able to replace you. You are so gifted as a musician, and so rich in your person. And if our confidence gets shaky , well, St.

    Fear, scarcity, anxiety—these are the old way. But we live as a new creation founded on hope and joy and possibility and life. And nowhere has our new creation-ness been more manifested than in the work we have done as a community with regards to music. We are musically integrated as a community, and you can feel the life in our worship because of it. Yes, we will all experience a death of sorts, every loss is a death of sorts—and Ted, your going is indeed a profound loss to us all.

    But the loss is never the end of the story; death never has the final word—not in the Christian rhythm. No, God is already at work, calling us ever deeper into this new creation ; we just need to let go of our human point of view in order to see it. And then there are the parables from Mark —good stuff for today!

    It is like a mustard seed, which, when sown upon the ground, is the smallest of all the seeds on earth; yet when it is sown it grows up and becomes the greatest of all shrubs, and puts forth large branches, so that the birds of the air can make nests in its shade. With many such parables he spoke the word to them, as they were able to hear it ; he did not speak to them except in parables, but he explained everything in private to his disciples. Okay, a few things here.

    Jesus goes to his favorite narrative style, the parable. Scholars agree that the parable is a really distinct style whose purpose is to subvert our normal way of seeing the world. They are full of paradox; they are meant to provoke us; to turn us upside down; to shake our worldview. Parables are living, breathing things—they call us out of our comfort zone and into a strange land. They tend to resonate with the heart, sort of like music , and we have to dwell in the land of imagination to begin to touch their creative and redemptive potential.

    And all shall be well. Designed by P3Hosting. Lukes Why St. Worship Schedule. Lukes Blog. Reflections Sermons. YouTube Link Calendar. Episcopal Church. Watauga Episcopalians. Community Page.