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Pachelbel's Canon (also known as the Canon in D, P 37) is an accompanied canon by the German Baroque composer Johann Pachelbel. The canon was originally scored for three violins and basso continuo and paired with a gigue, known as Canon and Gigue for 3 violins and basso continuo. Both movements are in the key of D major.
Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]
William Clarke Quantrill (July 31, 1837 – June 6, 1865) was a Confederate guerrilla leader during the American Civil War.. Quantrill experienced a turbulent childhood, became a schoolteacher, and joined a group of bandits who roamed the Missouri and Kansas countryside to apprehend escaped slaves.
Sonata No. 1 for violin and piano (1963; orchestrated, 1968) [note 1] Dialogue for cello and 7 instruments (1965) String Quartet No. 1 (1966) Serenade for violin, clarinet, double-bass, piano and percussion (1968) Sonata No. 2 for violin and piano "Quasi una sonata" (1968; orchestrated, 1987) Canon in Memoriam Igor Stravinsky for string quartet ...
The first song to became "popular" through a national advertising campaign was "My Grandfather's Clock" in 1876. [3] Mass production of piano in the late-19th century helped boost sheet music sales. [3] Toward the end of the century, during the Tin Pan Alley era, sheet music was sold by dozens and even hundreds of publishing companies.
Violin Concerto in D major, Op. 35 (1937–1939, revised in 1945) Cello Concerto in C major, Op. 37 (1946) (expanded from a work written for the 1946 film Deception ) Symphonic Serenade in B-flat major, Op. 39, for string orchestra (1947–1948)
revised 1912; setting of the poem "From Noon to Starry Night" by Walt Whitman; Colin Matthews notes that while Holst had not yet developed a musical style of his own, this early work shows "conviction and individuality", and has "few parallels in British music of this period".
The chamber music is listed and described in Villa-Lobos, sua obra 1974, Appleby 1988, Peppercorn 1991a, Tarasti 1995, and Wright 1992. (Information on the two Sextetos místicos in Peppercorn 1991b, 38–39) Sonate-fantaisie No. 1 for violin and piano, Desesperança (Despair) (1913) Sonate-fantaisie No. 2 for violin and piano (1914)
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