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George Frideric Handel was the house composer at Cannons from August 1717 until February 1719. [1] The Chandos Anthems and other important works by Handel were conceived, written or first performed at Cannons. Cannons was a large house in Middlesex, the seat of James Brydges, 1st Duke of Chandos who was a patron of Handel.
Also, cannon shots are heard at the end of Rush's "Overture". [50] "The Disappearance of Mr Davenheim" (Episode 5, Series 2, of the British drama series, Agatha Christie's Poirot (1990)), the title character plays a record of the 1812 Overture so that the cannon fire will mask the sound of him breaking into his own safe. [51]
Johann Pachelbel [n 1] (also Bachelbel; baptised 11 September [O.S. 1 September] 1653 [n 2] – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their peak.
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.
In 1717, Handel became composer in residence at Cannons in Middlesex, seat of James Brydges, Earl of Carnarvon, who in 1719 became the First Duke of Chandos. [1] [2] Johann Christoph Pepusch was Master of Music, having taken up his post before Handel's arrival.
The 1812 overture complete with cannon fire was performed at the 2005 Classical Spectacular. Among the other works, Capriccio Italien is a travelogue of the composer's time there during his years of wandering and a conscious emulation of the Mediterranean episodes in Glinka's Spanish Overtures. [49]
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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]