Handel's instruments he used were most likely the single keyboard portable chamber organs with four stops constructed by John Snetzler, the leading organbuilder in London. Free sheet music for all instruments : winds, strings, choral, orchestra. "Behold, a virgin shall conceive" (Isaiah 7:14) is rendered in a short alto recitative, to be "called Emmanuel", translated to "God with us", sung with a rest after "God". [12] In July 1741 Jennens sent him a new libretto for an oratorio; in a letter dated 10 July to his friend Edward Holdsworth, Jennens wrote: "I hope [Handel] will lay out his whole Genius & Skill upon it, that the Composition may excell all his former Compositions, as the Subject excells every other subject. An accompagnato is based on the words of the prophet Haggai, dealing with the splendor of the temple, and of Malachi who foretold the coming messenger. Forceful downward runs, leaps and trills of the voice are accompanied by fiery figuration in the strings. [31][113] In this initial appearance the trumpets lack the expected drum accompaniment, "a deliberate withholding of effect, leaving something in reserve for Parts II and III" according to Luckett. [45] So that the largest possible audience could be admitted to the concert, gentlemen were requested to remove their swords, and ladies were asked not to wear hoops in their dresses. [42] A particular aspect of Handel's restraint is his limited use of trumpets throughout the work. [46][124] The sombre sequence finally ends with the Ascension chorus "Lift up your heads", which Handel initially divides between two choral groups, the altos serving both as the bass line to a soprano choir and the treble line to the tenors and basses. Handel rewrote this dramatic scene in London in 1750 for the castrato Gaetano Guadagni, after he had initially set the text as a recitative for bass. Bartok: Concerto for Orchestra Mvt. The E major second movement is in modified ternary form (ABA'). Be charmed by the warm tones of the baroque oboe in a programme that will include Bach's Concerto for Violin and Oboe. [15] For the benefit of his audiences Jennens printed and issued a pamphlet explaining the reasons for his choices of scriptural selections. The first circle of fifths diagram appears in the Grammatika (1677) of Ukrainian composer and theorist Nikolay Diletsky, who intended to present music theory as a tool for composition. BUY TICKETS. 2. Performances of Hasse's Venetian opera Artaserse played to packed houses and Farinelli became the toast of the town. [77], Prout continued the practice of adding flutes, clarinets and trombones to Handel's orchestration, but he restored Handel's high trumpet parts, which Mozart had omitted (evidently because playing them was a lost art by 1789). Handel's setting of the famous words is strikingly simple and effective: "Glory to God, glory to God in the highest" is sung by the high voices (soprano, alto and tenor), whereas "and peace on earth" is given to the low voices of tenor and bass in unison, with the bass dropping an octave for "on earth". B2 occupies a significantly larger space of the reprise than it does in the previous Allegretto. [109] The division into parts and scenes is based upon the 1743 word-book prepared for the first London performance. [16] On Christmas Eve Handel finished the score of Faramondo, but its composition was interrupted by that of the Funeral Anthem for Queen Caroline. Another famous example is the D clarinet part of Richard Strauss's Till Eulenspiegels lustige Streiche. Singing more fourths and rests on "And suddenly" and "praising God", the music is supported by an even more vibrant accompaniment of the violins. During the Classical period the The aria is not da capo, but follows exactly the two verses from the Old Testament poetry, where the second verse typically parallels the thought of the first. After a processional "poco sostenuto" opening section featuring chaotic syncopated rhythms underpinned by pulsating timpani, the woodwinds and pizzicato strings play with thematic phrases to be fully explored in the following exposition. Here, Handel's use of N, di voi non-vo'fidarmi has Sedley Taylor's unqualified approval: "[Handel] bids the voices enter in solemn canonical sequence, and his chorus ends with a combination of grandeur and depth of feeling such as is at the command of consummate genius only".[123]. [140] Performances on an even smaller scale have followed. The orchestra included fifteen violins, five violas, three cellos, two double basses, four bassoons, four oboes, two trumpets, two horns and drums. Two trumpets and timpani highlight selected movements, for example in Part I the song of the angels Glory to God in the highest. The prophecy continues in two movements. With "And the angel said unto them", the soprano delivers in simple recitative the message "Fear not". It is a common subject of Christian art and of Christmas carols. ", International Music Score Library Project, Illustrated talk on performance practice in Handel organ concertos Opp. Frasi, Galli and Beard led the five soloists, who were required to assist the chorus. It is typically considered the sopranino or piccolo member of the clarinet family and is a transposing instrument in E with a sounding pitch a minor third higher than written. var prefix = 'ma' + 'il' + 'to'; "[69] In 1787 further performances were given at the Abbey; advertisements promised, "The Band will consist of Eight Hundred Performers". [8] His first venture into English oratorio had been Esther, which was written and performed for a private patron in about 1718. The libretto by Jennens is drawn from the Bible: mostly from the Old Testament of the King James Bible, but with several psalms taken from the Book of Common Prayer. The music begins to lose momentum as the strings play a descending procession that sounds as if it may lead to closing material for the section. Taking the older concerto da For instance, the original version of Arnold Schoenberg's Chamber Symphony No. The first published score of 1767, together with Handel's documented adaptations and recompositions of various movements, has been the basis for many performing versions since the composer's lifetime. The second ending brings the orchestra back into 24 time and to A3. In the late 20th and early 21st centuries, the trend has been towards reproducing a greater fidelity to Handel's original intentions, although "big Messiah" productions continue to be mounted. The popular Part I of Messiah is sometimes called the "Christmas" portion[1] as it is frequently performed during Advent in concert, sing-along, or as a Scratch Messiah. ", This page was last edited on 16 September 2022, at 08:33. [128] Its simple unison violin accompaniment and its consoling rhythms apparently brought tears to Burney's eyes. 6, HWV 319330, by George Frideric Handel are concerti grossi for a concertino trio of two violins and cello and a ripieno four-part string orchestra with harpsichord continuo.First published by subscription in London by John Walsh in 1739, they became in a second edition two years later Handel's Opus 6. [128], The reflective soprano solo "If God be for us" (originally written for alto) quotes Luther's chorale Aus tiefer Not. Having received Jennens's text some time after 10 July 1741, Handel began work on it on 22 August. The first separately published biography of the composer, by Johann [46] The declamatory opening chorus "Behold the Lamb of God", in fugal form, is followed by the alto solo "He was despised" in E-flat major, the longest single item in the oratorio, in which some phrases are sung unaccompanied to emphasise Christ's abandonment. [2] Except for the cut-time () Pi allegro coda, the movement is in common () meter. First, Brahms's self-critical fastidiousness led him to destroy many of his early works. Highgrove Suite for harp and string orchestra; Jennifer Higdon. Finally, the full orchestra is unleashed in an energetic rendition which quickly fragments into transitional struggle. "[1], Handel's prowess as an organist had already been demonstrated in Rome in 1707 in a contest with the composer Domenico Scarlatti, when his playing on the organ was rated higher than Scarlatti's playing on the harpsichord; his reputation as a great organist had already been established during his one-year position as cathedral organist in Halle in 1702. [86] Shaw argued, largely unheeded, that "the composer may be spared from his friends, and the function of writing or selecting 'additional orchestral accompaniments' exercised with due discretion. The Subject is Messiah ".[4]. Light and easy-going is the theme of a fugue, drawn from the duet for two sopranos "Quel fior che allalba ride" (HWV 192, July 1741). However, when they came to the Organ there was not the least pretence for doubting to which of them it belonged Handel had an uncommon brilliancy and command of finger; but what distinguished him from all other players who possessed these same qualities, was that amazing fullness, force and energy, which he joined with them. [6], For behold, darkness shall cover the earth. After their introduction in the Part I chorus "Glory to God", apart from the solo in "The trumpet shall sound" they are heard only in Hallelujah and the final chorus "Worthy is the Lamb". As the theme rises, the violins and violas develop it further, before it turns downwards to be joined with the low strings. The premiere of this symphony, conducted by the composer's friend Felix Otto Dessoff, occurred on 4 November 1876, in Karlsruhe, then in the Grand Duchy of Baden. Simon Heighes, for The Sixteen recording, Ach Herr, mich armen Snder", "Text of pre-concert talk on Handel's Messiah", "G. F. Handel's Compositions HWV 101200", International Music Score Library Project, Georg Friedrich Hndel / Messiah (1742) / A Sacred Oratorio / Words by Charles Jennens, George Frideric Handel (16851759) / Messiah, Agrippina condotta a morire or Dunque sar pur vero, https://en.wikipedia.org/w/index.php?title=Messiah_Part_I&oldid=1083456385, Articles with International Music Score Library Project links, Articles with MusicBrainz work identifiers, Creative Commons Attribution-ShareAlike License 3.0, D minor (alto and bass) / A minor (soprano), This page was last edited on 18 April 2022, at 22:40. Rschmann, Gritton, Fink, C. Daniels, N. Davies; McCreesh", International Music Score Library Project, Center for Computer Assisted Research in the Humanities, Agrippina condotta a morire or Dunque sar pur vero, https://en.wikipedia.org/w/index.php?title=Messiah_(Handel)&oldid=1119757255, Pages containing links to subscription-only content, CS1 maint: others in cite AV media (notes), Articles containing Italian-language text, Articles with International Music Score Library Project links, Articles with German-language sources (de), Articles with MusicBrainz work identifiers, Creative Commons Attribution-ShareAlike License 3.0, Ev'ry valley shall be exalted (air for tenor), And the glory of the Lord (anthem chorus), Thus saith the Lord of hosts (accompanied, But who may abide the day of His coming (soprano, alto or bass), And he shall purify the sons of Levi (chorus), O thou that tellest good tidings to Zion (air for alto and chorus), For behold, darkness shall cover the earth (bass), The people that walked in darkness have seen a great light (bass), For unto us a child is born (duet chorus), (a) There were shepherds abiding in the fields (secco recitative for soprano), (b) And lo, the angel of the Lord (accompanied recitative for soprano), And the angel said unto them (secco recitative for soprano), And suddenly there was with the angel (accompanied recitative for soprano), Rejoice greatly, O daughter of Zion (soprano), Then shall the eyes of the blind be opened (secco recitative for soprano or alto), He shall feed his flock like a shepherd (alto and/or soprano), He was despised and rejected of men (alto), Surely he hath borne our griefs and carried our sorrows (chorus), And with his stripes we are healed (fugue chorus), All we like sheep have gone astray (duet chorus), All they that see him laugh him to scorn (secco recitative for tenor), He trusted in God that he would deliver him (fugue chorus), Thy rebuke hath broken his heart (tenor or soprano), Behold and see if there be any sorrow (tenor or soprano), But thou didst not leave his soul in hell (tenor or soprano), Let all the angels of God worship Him (chorus), Thou art gone up on high (soprano, alto, or bass), How beautiful are the feet (soprano, alto, or chorus), Their sound is gone out (tenor or chorus), Why do the nations so furiously rage together (bass), Let us break their bonds asunder (chorus), Thou shalt break them with a rod of iron (tenor), O death, where is thy sting? The fourth movement begins with a slow introduction, where a new melody competes with "gloomy dramatic rhetoric". [129] Young writes that the "Amen" should, in the manner of Palestrina, "be delivered as though through the aisles and ambulatories of some great church". The third, scherzo-like movement, has an easy spirit yet is full of complex rhythms and interwoven textures. There are two major systems of numbering the movements of Messiah: the historic Novello edition of 1959 (which is based on earlier editions and contains 53 movements), and the Brenreiter edition of 1965 in the Hallische Hndel-Ausgabe. [7] In Rome in 170708 he had written two Italian oratorios at a time when opera performances in the city were temporarily forbidden under papal decree. In his libretto, Jennens's intention was not to dramatise the life and teachings of Jesus, but to acclaim the "Mystery of Godliness",[15] using a compilation of extracts from the Authorized (King James) Version of the Bible, and from the Psalms included in the 1662 Book of Common Prayer. [70], In continental Europe, performances of Messiah were departing from Handel's practices in a different way: his score was being drastically reorchestrated to suit contemporary tastes. The oboe leads a transition to E-flat and a development-heavy section marked by key instability and fragmented restatements and elaborations of phrases in the melody. The description "Sinfony" is taken from Handel's autograph score. [104] Against the general trend towards authenticity, the work has been staged in opera houses, both in London (2009) and in Paris (2011). The bass begins the accompagnato: "Thus saith the Lord". [54][55], London's initially cool reception of Messiah led Handel to reduce the season's planned six performances to three, and not to present the work at all in 1744to the considerable annoyance of Jennens, whose relations with the composer temporarily soured. "[85] The employment of huge forces necessitated considerable augmentation of the orchestral parts. Instead of the inversion of the theme we expect in the second phrase of A, the strings take over and offer an entirely different melody, but with essentially the same contour as the inversion. [40] The performance earned unanimous praise from the assembled press: "Words are wanting to express the exquisite delight it afforded to the admiring and crouded Audience". [110] The scene headings are given as Burrows summarised the scene headings by Jennens. The second theme arrives as a falling four note figure related to the opening sequence and related to the Alphorn tune. The long violin solo is reminiscent of some of Beethoven's later works: the late quartets and Missa Solemnis. The danced prologue Terpischore HWV 8b performed there contains sumptuous scoring for alto recorders, violins, violas and pizzicato cellos with the bass and treble lines doubled by organs; Handel marked the score, "Les orgues doucement, e la Teorbe". In three movements, five consecutive verses from the Book of Isaiah are treatedforetelling the return to Jerusalem (Isaiah 40:15) following the Babylonian captivity. A choral work in two parts, it was a setting of the ode Alexander's Feast, or the Power of Musick by John Dryden. The time signature changes from a stately 24 to a more pastoral and dancelike 68. Part I. After eight measures, A1 appears with the violins iterating the first theme and a longer, chromatic bridge section that extends the phrase structure to seven bars. They inaugurated a new tradition of brisk, small-scale performances, with vocal embellishments by the solo singers. However, after the theme's restatement is complete, a subtle change in the final passage avoids the key modulation taken in the exposition section, which allows the recapitulation to end in C minor. As the theme moves through a sweeping crescendo, the rest of the strings provide lush harmonic support. [9]. "Behold, thy King cometh unto thee" is given in dotted rhythm and is reminiscent of the French overture. In this second Messiah, which was for Handel's private financial benefit, Cibber reprised her role from the first performance, though Avoglio may have been replaced by a Mrs Maclaine;[48] details of other performers are not recorded. Its success encouraged Handel to write two more oratorios (Deborah and Athalia). [98] In 1950 John Tobin conducted a performance of Messiah in St Paul's Cathedral with the orchestral forces specified by the composer, a choir of 60, a countertenor alto soloist, and modest attempts at vocal elaboration of the printed notes, in the manner of Handel's day. Despite the evidence of the work's development, the symphony would not premiere for eight more years, in 1876.[2]. For instance, his obituary contains a list of the instrumental compositions printed during the composer's lifetime, followed by an approximate list of his unpublished work. [42] Such passages, says the music historian Donald Jay Grout, "reveal Handel the dramatist, the unerring master of dramatic effect". With "And suddenly there was with the angel", the soprano continues to tell of the arrival of "a multitude of the heav'nly host". In an attempt to deflect such sensibilities, in London Handel had avoided the name Messiah and presented the work as the "New Sacred Oratorio". Oboe B-flat major 1740 "Oboe concerto No. ", Handel fared better with his new opera Alcina which had an extended run, again with royal approval and attendance. P. Jee, Chaconne, from Violin Partita No. Jahrhunderts (Various), 30 Ausgewhlte Arien aus Opern und Oratorien (Handel, George Frideric), Auszug der vorzglichsten Arien, Duette und Chre (Hiller, Johann Adam), Baroque Bone Squad Collection (Reifsnyder, Bob), Baroque Music for Recorder Ensemble (Berger, Sven), Baroque Posaune Platoon Collection (Reifsnyder, Bob), Beauties of Sacred Harmony (Nightingale, John Charles), Cadenzen, Versetten, Prludien und Fugen (Ett, Kaspar), Calliope, or English Harmony (Roberts, Henry), Cantate a voce sola e basso I (Handel, George Frideric), Cantate a voce sola e basso II (Handel, George Frideric), Cantate con strumenti I (Handel, George Frideric), Cantate con strumenti II (Handel, George Frideric), Children's Piano Pieces the Whole World Plays (Wier, Albert Ernest), Les Clavecinistes de 1637 1790 (Mreaux, Jean-Amde Lefroid de), Clavierbungen (Kirnberger, Johann Philipp), A Collection of 7 Fughettas (Handel, George Frideric), A Collection of Trios for Soprano, Alto and Tenor Instruments (Kompy), 23 Concerti Grossi (Handel, George Frideric), 6 Concerti Grossi, Op.3 (Handel, George Frideric), 12 Concerti Grossi, Op.6 (Handel, George Frideric), 6 Concertos, Select Harmony 4th Collection (Various), Coronation Anthems, HWV 258-261 (Handel, George Frideric), Dance Movements from the Works of Great Masters (Hermann, Friedrich), 12 Dances by Old Masters (Burmester, Willy), The Delightful Pocket Companion for the Flute (Bremner, Robert), Dettingen Te Deum, Utrecht Te Deum and Utrecht Jubilate (Handel, George Frideric), Dictionnaire lyrique portatif (Dubreuil, Jean-Jacques), Duetti da camera (Handel, George Frideric), Duos and Trios II (Handel, George Frideric), Duos and Trios I (Handel, George Frideric), L'cole des grands matres, Op.119 (Barbot, Paul), English Songs, HWV 228 (Handel, George Frideric), 9 German Arias, HWV 202-210 (Handel, George Frideric), Les grands matres de l'art musical (Zllner, Heinrich), 8 Great Suites, HWV 426-433 (Handel, George Frideric), Le guide du lecteur, Op.281 (Duvernoy, Jean-Baptiste), Handel's Choruses for the Organ (Handel, George Frideric), The Harmony of Jerusalem (Roome, Francis), 3 Harpsichord Pieces, S-L Saml.Engelhart 446 (Handel, George Frideric), The Hartford Collection of Classical Church Music (Roberts, Eli), Historical Organ Collection (Carl, William Crane), Historical Organ-Recitals (Bonnet, Joseph), Die hohe Schule des Violaspiels (Hermann, Friedrich), Die hohe Schule des Violinspiels (David, Ferdinand), The Hundred Best Short Classics (Whitemore, Cuthbert F.), Improved Psalmody; Sanctioned by the King at Weymouth (Tattersall, William de Chair), Instructions for the Piano Forte (Cramer, Johann Baptist), 14 Instrumental Pieces, D-BNu S 2981 (Various), Introduction to the Art of Playing the Pianoforte, Op.42 (Clementi, Muzio), 30 Italian Arias of the Baroque and Classical Periods (Holderer, Michael), Klassische Stcke fr Viola mit Klavierbegleitung bearbeitet (Klengel, Paul), 30 klassische und moderne Chre fr Gymnasien und Realschulen, Op.38 (Lorenz, Karl Adolf), Klassisches Vortrags-Album (Klengel, Paul), Klavierwerke von G.F. Handel (Handel, George Frideric), Kompositionen fr Klavier (Handel, George Frideric), Kunst des Orgelspiels (Ritter, August Gottfried), Lord Danby's Lute Book, US-R Ms.Vault M.2./D.172 (Various), 6 Marches, HWV 419 (Handel, George Frideric), Master Series for the Young (Handel, George Frideric), Masterpieces of Piano Music (Wier, Albert Ernest), Mattias Ternstedt's Tablature Book, S-Uu Instr. [3], By the early 1730s public taste for Italian opera was beginning to fade. The first vocal movement (a tenor accompagnato) is based on three versesthe words of God beginning with "Comfort ye, comfort ye my people". The movement is a parody of Quel fior che all'alba ride (HWV 192, July 1741).[10][11]. The Old Testament part "He shall feed His flock like a shepherd" (Isaiah 40:11), is sung by the alto in music in 12/8 time which is reminiscent of the Pifa, but moving first down, then up. Bernard Shaw, in his role as a music critic, commented, "The stale wonderment which the great chorus never fails to elicit has already been exhausted";[84] he later wrote, "Why, instead of wasting huge sums on the multitudinous dullness of a Handel Festival does not somebody set up a thoroughly rehearsed and exhaustively studied performance of the Messiah in St James's Hall with a chorus of twenty capable artists? Second, there was an expectation from Brahms's friends and the public that he would continue "Beethoven's inheritance" and produce a symphony of commensurate dignity and intellectual scope an expectation that Brahms felt he could not fulfill easily in view of the monumental reputation of Beethoven. Horace Walpole recorded that Lady Rich (16921773) expressed her rapture in 1735 with the words, "One God, One Farinelli." The solos are typically a combination of recitative and aria. B1 is presented with an extension into C. The C and D themes differ from the first two in that they are shorter and more angular rhythmically. This page was last edited on 6 July 2022, at 19:58. There is no convincing evidence that the king was present, or that he attended any subsequent performance of Messiah; the first reference to the practice of standing appears in a letter dated 1756, three years prior to Handel's death. [92] In Australia, The Register protested at the prospect of performances by "trumpery little church choirs of 20 voices or so". [43], The three charities that were to benefit were prisoners' debt relief, the Mercer's Hospital, and the Charitable Infirmary. I was nearly an hour with Handel yesterday he is in no danger upon the whole but I fear or am rather too certain that he will lose a great part of his execution so as to prevent his ever playing any more concertos on the organ. The movement is based on the first section of Handel's Italian cantata No, di voi non vo' fidarmi (HWV 189, July 1741),[10][11] which had "originally expressed a distinctly secular kind of joy".[4]. presto Finally, the music moves into a softer, mysterious transitional session, leading to the final section. The timing of the performances avoided conflicts with events in other London theatres and the local papers advertised the "new Concertos on the Organ." Many orchestration and instrumentation books give a smaller tonal range (E3 to G6) for the E-flat clarinet compared to normal clarinets in A or B (E3-C7). Modern performances which seek authenticity tend to be based on one of three 20th-century performing editions. There were shepherds abiding in the field. [52] As was his custom, Handel rearranged the music to suit his singers. Part I (Adagio C minor). Handel found various ways to use the format freely to convey the meaning of the text. Only two movements in Messiah are purely instrumental: the overture (written as "Sinfony" in Handel's autograph) and the Pifa (a pastorale introducing the shepherds in Bethlehem); and only a few movements are a duet or a combination of solo and chorus. The text is compiled from Zechariah (who saw God's providential dealings), Isaiah's oracle of salvation for Israel, and his vision of the Shepherd (seen fulfilled by the Evangelist Matthew). There are far fewer major/minor compositions than minor/major ones (the latter category of which The orchestra employed was two hundred and fifty strong, including twelve horns, twelve trumpets, six trombones and three pairs of timpani (some made especially large). The overall mood is "savagely energetic"[2] and "scherzo-like" in 68 time. Other catalogues of Handel's music have referred to the work as HG The first three notes of the Alphorn theme create are presented in a swelling crescendo which resolves in a drawn out conclusion over pounding timpani followed by a quiet chord dying in the brass. The year 1750 also saw the institution of the annual charity performances of Messiah at London's Foundling Hospital, which continued until Handel's death and beyond. Bass Flute Guitar Harp Horn Oboe Orchestra Percussion Piano Piano Quartet Piano Trio Solos 1. 2 in D major, K. 314 (1778) (an arrangement of the above Oboe The violinist Festing and the composer Arne reported to the musicologist Charles Burney that Handel had included organ solos in the Oxford performances: he had "opened the organ in such a manner as astonished every hearer" and "neither themselves, nor any one of their acquaintance, had ever before heard such extempore, or such premeditated playing, on that or any other instrument. [7] In 1732 Handel brought a revised and expanded version of Esther to the King's Theatre, Haymarket, where members of the royal family attended a glittering premiere on 6 May. B-flat major c. 170710 One of Handel's earliest extant compositions. This rapid pace was seen by Jennens not as a sign of ecstatic energy but rather as "careless negligence", and the relations between the two men would remain strained, since Jennens "urged Handel to make improvements" while the composer stubbornly refused. A concerto (/ k n t r t o /; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble.The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g. "Fluidities of Phrase and Form in the 'Intermezzo' of Brahms's First Symphony. Starting with a murky rumble in the basses, the music gathers strength with a thrilling set of arpeggios in the violins with support from the brass, which repeat the "fate" motif with great alacrity. Strings of dotted eighth notes end the movement proper with ideas from the B theme. A distinctive 'turning' motif, derived from the main theme, appears in the winds, traded between flute and oboe with lush string harmony accompaniment. Copyright 2015 - 2016. O Salutaris Hostia No.1 in E-flat major (Elgar, Edward) O Salutaris Hostia No.2 in E-flat major (Elgar, Edward) O Salutaris Hostia No.3 in F major (Elgar, Edward) Offertoire (Elgar, Edward) Organ Sonata, Op.28 (Elgar, Edward) P. The Pageant of Empire (Elgar, Edward) 5 Part Songs from the Greek Anthology, Op.45 (Elgar, Edward)
Absolutdata Company Profile, Stressing Post Tension Cables, Event Ticket Management, Treasure Bag Despawn Terraria, Sunshine State Books 2022-2023 6-8, Google Analytics Attribution Beta, Bauer 20142e-b Manual, Freshly Baked Croissants, Narrow Strip Of Land Connecting Two Larger Areas Crossword, React Typescript Addeventlistener,