A three-volume series that provides the intermediate-level pianist with classical music that is appropriate for the worship service. Pieces are arranged in each volume alphabetically and by classification (Preludes, Offertories, Solos, Postludes).

A three-volume series that provides the intermediate-level pianist with classical music that is appropriate for the worship service. Pieces are arranged in each volume alphabetically and by classification (Preludes, Offertories, Solos, Postludes).

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Excerpt from Harmonia Coelestis: A Collection of Church Music, in Two, Three, and Four Parts; With Words Adapted to Each, Comprehending Not Only the Metres in Common Use, but the Particular Metres, in the Hartford Collection of Hymns Ach bat: 1 i'nall leave to the difcretion of the performer. - The words, if properly adapted, will be the befi guide, e of performance. In beating Common time, you are always to move your hand twice down and twice up, in each 1c very brifk, then once down and once up will be fuffi'cicnt. Treble time is beat twice dotvn and once up in a bar. One up in a bar. 1 1. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In the decades leading up to the Civil War, most Americans probably encountered European classical music primarily through hymn tunes. Hymnody was the most popular and commercially successful genre of the antebellum period in the United States, and the unquenchable thirst for new tunes to sing led to a phenomenon largely forgotten today: in their search for fresh material, editors lifted hundreds of tunes from the works of major classical composers to use as settings of psalms and hymns. The few that remain popular today millions have sung "Joyful, Joyful We Adore Thee" to Beethoven and "Hark, The Herald Angels Sing" to Mendelssohn are vestiges of one of the most distinctive trends in antebellum music-making. Gems of Exquisite Beauty is the first in-depth study of the historical rise and fall of this adaptation practice, its artistic achievements, and its place in nineteenth-century American musical life. It traces the contributions of pioneering figures like Arthur Clifton and the impact of bestsellers like the Handel and Haydn Society Collection, which helped turn Lowell Mason into America's most influential musician. By telling the tales of these hymns and those who brought them into the world, author Peter Mercer-Taylor reveals a central part of the history of how the American public first came to meet and creatively engage with Europe's rich musical practices.