In 1992, this piece was set for chorus, brass, and percussion by Spanish composer Cristobal Halffter. A composition titled "Prelude, Adagio, and Choral Variations" on a theme from this piece was written for organ by Maurice Durufle. One of Hector Berlioz's last compositions was a version of this work for SSA choir, while a Stabat Mater concludes a set of 10 chamber works named for this piece by Arvo Part. J.S. Bach based two chorale preludes on Martin Luther's (*) "Komm, Gott Schopfer, Heiliger Geist", which was derived from this piece. This hymn attributed to Rabanus Maurus was most famously set to music in a work which also sets the final scene of Goethe's Faust. F
In 1992, this piece was set for chorus, brass, and percussion by Spanish composer Cristobal Halffter. A composition titled "Prelude, Adagio, and Choral Variations" on a theme from this piece was written for organ by Maurice Durufle. One of Hector Berlioz's last compositions was a version of this work for SSA choir, while a Stabat Mater concludes a set of 10 chamber works named for this piece by Arvo Part. J.S. Bach based two chorale preludes on Martin Luther's (*) "Komm, Gott Schopfer, Heiliger Geist", which was derived from this piece. This hymn attributed to Rabanus Maurus was most famously set to music in a work which also sets the final scene of Goethe's Faust. For 10 points, name this 9th century Gregorian chant used in Mahler's Symphony of a Thousand.
In 1992, this piece was set for chorus, brass, and percussion by Spanish composer Cristobal Halffter.
Veni creator spiritus 