From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #12121 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Saturday, September 2 2023 Volume 14 : Number 12121 Today's Subjects: ----------------- Moderna. Astrazeneca. & Pfizer ["Bye Bye.." Subject: Moderna. Astrazeneca. & Pfizer Moderna. Astrazeneca. & Pfizer http://qchargebraincare.life/UlZXbGTNwq76N9B_mTyGXdnOTcN_WxLX-2Qs4lldT3I7U7d34Q http://qchargebraincare.life/bJBVwHg_YrtKXAAeqgyG7_4yNX-e4LGfQ0JjAwusO5MRmNAVqQ After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797, Ludwig van Beethoven published the 12 Variations in G major on "See the conqubring hero comes" from Judas Maccabaeus by Handel, for cello and piano. In 1822, Beethoven composed the overture The Consecration of the House, which also bears the influence of Handel. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer FC)lix-Alexandre Guilmant use Handel's themes; for example, his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's 'The Harmonious Blacksmith' . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B-flat major (1933) was composed after Handel's Concerto Gross ------------------------------ Date: Sat, 2 Sep 2023 11:27:30 +0200 From: "Spotify Survey" Subject: A Shopping Spree for you! A Shopping Spree for you! http://advancedhairsgrowth.shop/6D01E9T_hN_b6HC79WsZCZw1ZFKDofbn-JXBHL2KixA7PiujMA http://advancedhairsgrowth.shop/7Y_-leZmmaTHObVM9-qztTzJhVK7JR-kmhHKE9ZoN2pjxxEPFw Born in London and baptised on 24 January 1664, Vanbrugh was the fourth child (of 19), and eldest surviving son, of Giles Vanbrugh, a London cloth-merchant of Flemish descent (as evident in the name, contracted from "Van Brugh") and Protestant background, and his wife Elizabeth, widow of Thomas Barker (by whom Vanbrugh's mother had the first of her twenty children, Vanbrugh's elder half-sister, Elizabeth), and daughter of Sir Dudley Carleton, of Imber Court, Thames Ditton, Surrey. He grew up in Chester, where his family had been driven by either the major outbreak of the plague in London in 1665, or the Great Fire of 1666. It is possible that he attended The King's School in Chester, though no records of his being a scholar there survive. Another candidate would have been the school at Ashby-de-la-Zouch, founded by Henry Hastings, 3rd Earl of Huntingdon. It was also not uncommon for boys to be sent to study at school away from home, or with a tutor. vte Architectural historian Kerry Downes is sceptical of earlier historians' claims of a lower middle-class background, and writes that a 19th-century suggestion that Giles Vanbrugh was a sugar-baker has been misunderstood. "Sugar-baker" implies wealth, as the term refers not to a maker of sweets but to the owner of a sugar house, a factory for the refining of raw sugar from Barbados. Sugar refining would normally have been combined with sugar trading, which was a lucrative business. Downes' example of one sugar baker's house in Liverpool, estimated to bring in B#40,000 a year in trade from Barbados, throws a new light on Vanbrugh's social background, one rather different from the picture of a backstreet Chester sweetshop as painted by Leigh Hunt in 1840 and reflected in many later account ------------------------------ Date: Sat, 2 Sep 2023 12:05:25 +0200 From: "Wholesale Stores Winner" Subject: Did you receive your package? Did you receive your package? http://statefarmsurvey.world/QNUeZmSwnm4PO94HwADXCHix_RhYSQ5qSioB3c1E2fEXlAPZ6A http://statefarmsurvey.world/boWJ6txx-7lRf4O4jRjQWzk0TALtG2QN5ita-kR3IwiwpEpP1g Sometime between the ages of seven and nine, Handel accompanied his father to Weissenfels, where he came under the notice of one whom Handel thereafter always regarded throughout life as his benefactor, Duke Johann Adolf I. Somehow Handel made his way to the court organ in the palace chapel of the Holy Trinity, where he surprised everyone with his playing. Overhearing this performance and noting the youth of the performer caused the Duke, whose suggestions were not to be disregarded, to recommend to Georg HC$ndel that Handel be given musical instruction. Handel's father engaged the organist at the Halle parish church, the young Friedrich Wilhelm Zachow, to instruct Handel. Zachow would be the only teacher that Handel ever had. Because of his church employment, Zachow was an organist "of the old school", reveling in fugues, canons, and counterpoint. But he was also familiar with developments in music across Europe and his own compositions "embraced the new concerted, dramatic style". When Zachow discovered the talent of Handel, he introduced him "to a vast collection of German and Italian music, which he possessed, sacred and profane, vocal and instrumental compositions of different schools, different styles, and of every master". Many traits considered "Handelian" can be traced back to Zachow's music. At the same time Handel continued practice on the harpsichord, and learned violin and organ, but according to Burney his special affection was for the hautbois (oboe). Schoelcher speculates that his youthful devotion to the instrument explains the large number of pieces he composed for oboe. Marktkirche in Halle where Handel was baptised, and where Friedrich Zachow and Handel performed as organists With respect to instruction in composition, in addition to having Handel apply himself to traditional fugue and cantus firmus work, Zachow, recognising Handel's precocious talents, systematically introduced Handel to the variety of styles and masterworks contained in his extensive library. He did this by requiring Handel to copy selected scores. "I used to write like the devil in those days", Handel recalled much later. Much of this copying was entered into a notebook that Handel maintained for the rest of his life. Although it has since disappeared, the notebook has been sufficiently described to understand what pieces Zachow wished Handel to study. Among the chief composers represented in this exercise book were Johann Krieger, an "old master" in the fugue and prominent organ composer, Johann Caspar Kerll, a representative of the "southern style" after his teacher Girolamo Frescobaldi and imitated later by Handel, Johann Jakob Froberger, an "internationalist" also closely studied by Buxtehude and Bach, and Georg Muffat, whose amalgam of French and Italian styles and his synthesis of musical forms influenced Han ------------------------------ Date: Sat, 2 Sep 2023 11:14:53 +0200 From: "CVS Giveaway" Subject: General customer experience gauging General customer experience gauging http://statefarmsurvey.world/XI7EWYNng4B2j4ZmNxjnU5ASSDbS0B7cB7bBPSut90uUTUXZrA http://statefarmsurvey.world/IpgBusti8slOaR4LU_H0bTjCGBbWIxunPOra415pIB8AAsP0jw Born in London and baptised on 24 January 1664, Vanbrugh was the fourth child (of 19), and eldest surviving son, of Giles Vanbrugh, a London cloth-merchant of Flemish descent (as evident in the name, contracted from "Van Brugh") and Protestant background, and his wife Elizabeth, widow of Thomas Barker (by whom Vanbrugh's mother had the first of her twenty children, Vanbrugh's elder half-sister, Elizabeth), and daughter of Sir Dudley Carleton, of Imber Court, Thames Ditton, Surrey. He grew up in Chester, where his family had been driven by either the major outbreak of the plague in London in 1665, or the Great Fire of 1666. It is possible that he attended The King's School in Chester, though no records of his being a scholar there survive. Another candidate would have been the school at Ashby-de-la-Zouch, founded by Henry Hastings, 3rd Earl of Huntingdon. It was also not uncommon for boys to be sent to study at school away from home, or with a tutor. vte Architectural historian Kerry Downes is sceptical of earlier historians' claims of a lower middle-class background, and writes that a 19th-century suggestion that Giles Vanbrugh was a sugar-baker has been misunderstood. "Sugar-baker" implies wealth, as the term refers not to a maker of sweets but to the owner of a sugar house, a factory for the refining of raw sugar from Barbados. Sugar refining would normally have been combined with sugar trading, which was a lucrative business. Downes' example of one sugar baker's house in Liverpool, estimated to bring in B#40,000 a year in trade from Barbados, throws a new light on Vanbrugh's social background, one rather different from the picture of a backstreet Chester sweetshop as painted by Leigh Hunt in 1840 and reflected in many later account ------------------------------ Date: Sat, 2 Sep 2023 04:01:11 -0700 (PDT) From: "yy26...@gmail.com" Subject: =?UTF-8?B?2KfZhNix2YLYp9io2Kkg2KfZhNiv2KfYrtmE2YrYqSDZiNij2LnZh din2YQ=?= =?UTF-8?B?INin2YTYsdi12K8g2YjYp9mE2KrZgtmK2YrZhSDYudmE2Ykg2KPYs9in2LM= ?= =?UTF-8?B?INin2YTZhdiu2KfYt9ixIC8g2YXYpNi02LHYp9iqINmI2YXZgtin2YrZig== ?= =?UTF-8?B?2LMg2KfZhNij2K/Yp9ihINmE2KXYr9in2LHYqSDYp9mE2YXZiNin2LHYryA= ?= =?UTF-8?B?2KfZhNio2LTYsdmK2KkgLSBIUiBLUElzIC/YrtmE2KfZhCA=?= =?UTF-8?B?2KfZhNmB2KrYsdipINmF2YYgOeKAkyAxNCDYs9io2KrZhdio2LEgMg==?= =?UTF-8?B?MDIzINmFINmE2YTYqtmI2KfYtdmEINis2YDZgNmA2YjYp9mEICYg?= =?UTF-8?B?2YjYp9iq2LMg2KfYqCA6IDAwMjAxMDkwOTQ2NDQw?= CgogCgoq2KfZhNiz2YTYp9mFINi52YTZitmD2YUg2YjYsdit2YXYqSDYp9mE2YTZhyDZiNio2LHZ g9in2KrZhyoKCirZitmC2K/ZhSDYp9mE2KfYqtit2YDYp9ivINin2YTYudix2KjZgNmKINmE2KrZ htmF2YrZgNipINin2YTZhdmA2YjYp9ix2K8g2KfZhNio2LTYsdmK2YDZgNipKgoKKtio2KXYudiq 2YXYp9ivINio2LHZiti32KfZhtmKINmF2YYgKipVaHJkYSBFZHVjYXRpb24qIAoKKtiq2YbZgdmK 2LAg2KfZhNio2LHYp9mF2Kwg2KfZiNmG2YTYp9mK2YYg2LnYqNixINmF2YbYtdipICoqWk9PTSAq IAoKKtij2Ygg2K3YttmI2LHZitinINio2KfZhNmC2KfZh9ix2Kkg4oCTINis2YXZh9mI2LHZitip INmF2LXYsSDYp9mE2LnYsdio2YrYqSAqCgoq2K7ZhNin2YQg2KfZhNmB2KrYsdipINmF2YYgOeKA kyAxNCDYs9io2KrZhdio2LEgMjAyMyDZhSoKCirYp9mE2KjYsdmG2KfZhdisINin2YTYqtiv2LHZ itio2YoqCgoqMS0g2KfZhNix2YLYp9io2Kkg2KfZhNiv2KfYrtmE2YrYqSDZiNij2LnZhdin2YQg 2KfZhNix2LXYryDZiNin2YTYqtmC2YrZitmFINi52YTZiSDYo9iz2KfYsyDYp9mE2YXYrtin2LfY sSoKCirYp9mE2KjYsdmG2KfZhdisINin2YTYqtiv2LHZitio2YoqCgoqMiAtINiv2YjYsSDYp9mE 2LnZhNin2YLYp9iqINin2YTYudin2YXYqSDZiNin2YTYpdi52YTYp9mFINmB2Yog2KjZhtin2KEg 2KfZhNil2KrYtdin2YQg2KfZhNiv2KfYrtmE2Yog2YTZhNmF2KTYs9iz2KfYqioKCirYp9mE2KjY sdmG2KfZhdisINin2YTYqtiv2LHZitio2YoqCgoqMyDigJMg2YXYpNi02LHYp9iqINmI2YXZgtin 2YrZitizINin2YTYo9iv2KfYoSDZhNil2K/Yp9ix2Kkg2KfZhNmF2YjYp9ix2K8g2KfZhNio2LTY sdmK2KkgLSAqKkhSIEtQSXMqCgoq2KfZhNio2LHZhtin2YXYrCDYp9mE2KrYr9ix2YrYqNmKKgoK KjQgLSDYp9mE2KfYs9mA2YDYp9mE2YrYqCDYp9mE2YHZhtmK2YDZgNmA2Kkg2KfZhNmF2KrZgtmA 2K/ZhdmA2YDYqSDZgdmA2Yog2KXYr9in2LHYqSDYp9mE2YXYtNmA2YDYqtix2YrZgNin2Kog2YjZ g9mK2YHZitmA2YDYqSAK2KfZhNiq2YHZgNin2YjYtiDZiNiq2YLZitmK2YDZgNmFINij2K/Yp9ih INin2YTZhdmA2YDZiNix2K/ZitmGKgoKKtin2YTYqNix2YbYp9mF2Kwg2KfZhNiq2K/YsdmK2KjZ iioKCio1IC0g2KfZhNmF2K/ZitixINin2YTZhdi52KrZhdivINmB2Yog2KfZhNis2YjYr9ipINmI 2KfZhNiq2YXZitiyINin2YTZhdik2LPYs9mKKgoKKtin2YTYqNix2YbYp9mF2Kwg2KfZhNiq2K/Y sdmK2KjZiioKCio2IC0g2K/YqNmE2YjZhSDYrdmI2YPZhdipINin2YTZhdik2LPYs9in2Kog2YjY pdiv2KfYsdipINin2YTZhdiu2KfYt9ixINmI2KfZhNin2YXYqtir2KfZhCoKCirZhdmE2K3ZiNi4 2KkvICDZgdmJINit2KfZhNipINin2YTYp9i02KrYsdin2YMg2KfYtti62Lcg2LnZhNmKINmH2LDY pyDYp9mE2LHYp9io2LcgOioKCiAKCirZhNmE2KrYs9is2YrZhCDZiNmF2LnYsdmB2Kkg2KfZhNmF 2K3Yp9mI2LEg2YjYp9mE2LHYs9mI2YUg2KfYtti62Lcg2YfZhtinIAo8aHR0cHM6Ly9kb2NzLmdv b2dsZS5jb20vZm9ybXMvZC9lLzFGQUlwUUxTZHVjcjBvbGVIZjRJOWFxWERWVG13b2ZmcmptMTc0 V1ItTlZ1eUVQV3hlQkI2MDd3L3ZpZXdmb3JtP3ZjPTAmYz0wJnc9MSZmbHI9MD4qCgoqICAgICAg ICAgICAgCjxodHRwczovL2RvY3MuZ29vZ2xlLmNvbS9mb3Jtcy9kL2UvMUZBSXBRTFNkdWNyMG9s ZUhmNEk5YXFYRFZUbXdvZmZyam0xNzRXUi1OVnV5RVBXeGVCQjYwN3cvdmlld2Zvcm0/dmM9MCZj PTAmdz0xJmZscj0wPioKCiAKCiogICAgICAgICAgINmE2YXYstmK2K8g2YXZhiDYp9mE2YXYudmE 2YjZhdin2Kog2KjYsdis2KfYoSDYp9mE2KfYqti12KfZhCoKCiogICDZhtin2KbZgNioINmF2K/Z itmA2LEg2KfZhNiq2K/YsdmK2YDZgNmA2Kgg4oCTINijIC8g2YfYqNmA2Ycg2LPZhNmK2YXZgNin 2YYqCgoq2YTZhNiq2YjYp9i12YQg2KzZgNmA2YDZiNin2YQgJiDZiNin2KrYsyDYp9ioOiAwMDIw MTA5MDk0NjQ0MCAKPGh0dHBzOi8vYXBpLndoYXRzYXBwLmNvbS9zZW5kP3Bob25lPTIwMTA5MDk0 NjQ0MD4qCg0KLS0gCuKAj9mE2YLYryDYqtmE2YLZitiqINmH2LDZhyDYp9mE2LHYs9in2YTYqSDZ hNij2YbZgyDZhdi02KrYsdmDINmB2Yog2KfZhNmF2KzZhdmI2LnYqSAiaGViYSBtb2hhbW1lZCIg 2YXZhiDZhdis2YXZiNi52KfYqiBHb29nbGUuCtmE2KXZhNi62KfYoSDYp9mE2KfYtNiq2LHYp9mD INmB2Yog2YfYsNmHINin2YTZhdis2YXZiNi52Kkg2YjYpdmK2YLYp9mBINiq2YTZgtmKINix2LPY p9im2YQg2KfZhNil2YTZg9iq2LHZiNmG2YrYqSDZhdmG2YfYp9iMINij2LHYs9mEINix2LPYp9mE 2Kkg2KXZhNmD2KrYsdmI2YbZitipINil2YTZiSB5YXJhLXlvdXNlZit1bnN1YnNjcmliZUBnb29n bGVncm91cHMuY29tLgrZhNi52LHYtiDZh9iw2Ycg2KfZhNmF2YbYp9mC2LTYqSDYudmE2Ykg2KfZ hNmI2YrYqNiMINin2YbYqtmC2YQg2KXZhNmJIGh0dHBzOi8vZ3JvdXBzLmdvb2dsZS5jb20vZC9t c2dpZC95YXJhLXlvdXNlZi9iODZjNWRmNy1iY2E3LTQzMmEtOWJhMy0wYTJhOWFhNDUyNzluJTQw Z29vZ2xlZ3JvdXBzLmNvbS4K ------------------------------ End of alt.music.moxy-fruvous digest V14 #12121 ***********************************************