MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Dublin is the capital and largest city of Ireland. It is on the east coast of Ireland, in the province of Leinster, at the mouth of the River Liffey, is bordered on the south by the Wicklow Mountains, it has an urban area population of 1,173,179, while the population of the Dublin Region, as of 2016, was 1,347,359, the population of the Greater Dublin area was 1,904,806. There is archaeological debate regarding where Dublin was established by the Gaels in or before the 7th century AD. Expanded as a Viking settlement, the Kingdom of Dublin, the city became Ireland's principal settlement following the Norman invasion; the city expanded from the 17th century and was the second largest city in the British Empire before the Acts of Union in 1800. Following the partition of Ireland in 1922, Dublin became the capital of the Irish Free State renamed Ireland. Dublin is a historical and contemporary centre for education, the arts and industry; as of 2018 the city was listed by the Globalization and World Cities Research Network as a global city, with a ranking of "Alpha −", which places it amongst the top thirty cities in the world.
The name Dublin comes from the Irish word Dubhlinn, early Classical Irish Dubhlind/Duibhlind, from dubh meaning "black, dark", lind "pool", referring to a dark tidal pool. This tidal pool was located where the River Poddle entered the Liffey, on the site of the castle gardens at the rear of Dublin Castle. In Modern Irish the name is Duibhlinn, Irish rhymes from County Dublin show that in Dublin Leinster Irish it was pronounced Duílinn; the original pronunciation is preserved in the names for the city in other languages such as Old English Difelin, Old Norse Dyflin, modern Icelandic Dyflinn and modern Manx Divlyn as well as Welsh Dulyn. Other localities in Ireland bear the name Duibhlinn, variously anglicized as Devlin and Difflin. Scribes using the Gaelic script wrote bh with a dot over the b, rendering Duḃlinn or Duiḃlinn; those without knowledge of Irish omitted the dot. Variations on the name are found in traditionally Gaelic-speaking areas of Scotland, such as An Linne Dhubh, part of Loch Linnhe.
It is now thought that the Viking settlement was preceded by a Christian ecclesiastical settlement known as Duibhlinn, from which Dyflin took its name. Beginning in the 9th and 10th century, there were two settlements; the Viking settlement of about 841, a Gaelic settlement, Áth Cliath further up river, at the present day Father Mathew Bridge, at the bottom of Church Street. Baile Átha Cliath, meaning "town of the hurdled ford", is the common name for the city in modern Irish. Áth Cliath is a place name referring to a fording point of the River Liffey near Father Mathew Bridge. Baile Átha Cliath was an early Christian monastery, believed to have been in the area of Aungier Street occupied by Whitefriar Street Carmelite Church. There are other towns of the same name, such as Àth Cliath in East Ayrshire, Anglicised as Hurlford; the area of Dublin Bay has been inhabited by humans since prehistoric times, but the writings of Ptolemy in about AD 140 provide the earliest reference to a settlement there.
He called it Eblana polis. Dublin celebrated its'official' millennium in 1988, meaning the Irish government recognised 988 as the year in which the city was settled and that this first settlement would become the city of Dublin, it is now thought the Viking settlement of about 841 was preceded by a Christian ecclesiastical settlement known as Duibhlinn, from which Dyflin took its name. Beginning in the 9th and 10th century, there were two settlements which became the modern Dublin; the subsequent Scandinavian settlement centred on the River Poddle, a tributary of the Liffey in an area now known as Wood Quay. The Dubhlinn was a pool on the lowest stretch of the Poddle, used to moor ships; this pool was fully infilled during the early 18th century, as the city grew. The Dubhlinn lay where the Castle Garden is now located, opposite the Chester Beatty Library within Dublin Castle. Táin Bó Cuailgne refers to Dublind rissa ratter Áth Cliath, meaning "Dublin, called Ath Cliath". Dublin was established as a Viking settlement in the 10th century and, despite a number of attacks by the native Irish, it remained under Viking control until the Norman invasion of Ireland was launched from Wales in 1169.
It was upon the death of Muirchertach Mac Lochlainn in early 1166 that Ruaidrí Ua Conchobair, King of Connacht, proceeded to Dublin and was inaugurated King of Ireland without opposition. According to some historians, part of the city's early economic growth is attributed to a trade in slaves. Slavery in Ireland and Dublin reached its pinnacle in the 10th centuries. Prisoners from slave raids and kidnappings, which captured men and children, brought revenue to the Gaelic Irish Sea raiders, as well as to the Vikings who had initiated the practice; the victims came from Wales, England and beyond. The King of Leinster, Diarmait Mac Murchada, after his exile by Ruaidhrí, enlisted the help of Strongbow, the Earl of Pembroke, to conquer Dublin. Following Mac Murrough's death, Strongbow declared himself King of Leinster after gaining control of the city. In response to Strongbow's successful invasion, King Henry II of England affirmed his ultimate sovereignty by mou
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Giuseppe Domenico Scarlatti was an Italian composer. He is classified as a Baroque composer chronologically, although his music was influential in the development of the Classical style and he was one of the few Baroque composers to transition into the classical period. Like his renowned father Alessandro Scarlatti, he composed in a variety of musical forms, although today he is known for his 555 keyboard sonatas, he spent much of his life in the service of the Portuguese and Spanish royal families. Domenico Scarlatti was born in Kingdom of Naples, belonging to the Spanish Crown, he was born in the same year as Johann Sebastian Bach and George Frideric Handel. Scarlatti was the sixth of ten children of teacher Alessandro Scarlatti, his older brother Pietro Filippo was a musician. Scarlatti first studied music under his father. Other composers who may have been his early teachers include Gaetano Greco, Francesco Gasparini, Bernardo Pasquini, all of whom may have influenced his musical style. Muzio Clementi brought Scarlatti's sonatas into the classical style by editing what is known to be its first publication.
He was appointed as composer and organist at the royal chapel in Naples in 1701. In 1703, he revised Carlo Francesco Pollarolo's opera Irene for performance at Naples. Soon afterwards, his father sent him to Venice. After this, nothing is known of Scarlatti's life until 1709, when he went to Rome and entered the service of the exiled Polish queen Marie Casimire, it was in Rome. Scarlatti was an accomplished harpsichordist: there is a story of a trial of skill with George Frideric Handel at the palace of Cardinal Ottoboni in Rome where he was judged superior to Handel on the harpsichord, although inferior on the organ. Scarlatti has been heralded as the "greatest Italian harpsichord composer of all time". In life, Scarlatti was known to cross himself in veneration when speaking of Handel's skill. While in Rome, Scarlatti composed several operas for Queen Casimire's private theatre, he was Maestro di Cappella at St. Peter's from 1715 to 1719. In 1719 he travelled to London to direct his opera Narciso at the King's Theatre.
According to Vicente Bicchi, Papal Nuncio in Portugal at the time, Domenico Scarlatti arrived in Lisbon on 29 November 1719. There he taught music to the Portuguese princess Maria Magdalena Barbara, he left Lisbon on 28 January 1727 for Rome, where he married Maria Caterina Gentili on 6 May 1728. In 1729 he moved to Seville. In 1733 he went to Madrid as music master to Princess Maria Barbara, who had married into the Spanish royal house; the Princess became Queen of Spain. Scarlatti remained in the country for the remaining twenty-five years of his life, had five children there. After the death of his first wife in 1742, he married Anastasia Maxarti Ximenes. Among his compositions during his time in Madrid were most of the 555 keyboard sonatas for which he is best known. Scarlatti befriended the castrato singer Farinelli, a fellow Neapolitan enjoying royal patronage in Madrid; the musicologist and harpsichordist Ralph Kirkpatrick commented that Farinelli's correspondence provides "most of the direct information about Scarlatti that has transmitted itself to our day".
Domenico Scarlatti died in Madrid, at the age of 71. His residence on Calle Leganitos is designated with a historical plaque, his descendants still live in Madrid, he was buried at a convent there, in Madrid. Only a small fraction of Scarlatti's compositions were published during his lifetime; these were well received throughout Europe, were championed by the foremost English writer on music of the eighteenth century, Charles Burney. The many sonatas that were unpublished during Scarlatti's lifetime have appeared in print irregularly in the two and a half centuries since. Scarlatti has attracted notable admirers, including Béla Bartók, Arturo Benedetti Michelangeli, Pieter-Jan Belder, Johannes Brahms, Frédéric Chopin, Emil Gilels, Enrique Granados, Marc-André Hamelin, Vladimir Horowitz, Franz Liszt, Ivo Pogorelić, Scott Ross, the first performer to record the complete 555 sonatas, Heinrich Schenker, András Schiff, Dmitri Shostakovich. Scarlatti's 555 keyboard sonatas are single movements in binary form, some in early sonata form, written for the harpsichord or the earliest pianofortes..
Some of them display harmonic audacity in their use of discords, unconventional modulations to remote keys. Other distinctive attributes of Scarlatti's style are the following: The influence of Iberian folk music. An example is Scarlatti's use of the Phrygian mode and other tonal inflections more or less alien to European art music. Many of Scarlatti's figurations and dissonances are suggestive of the guitar. Scarlatti's compositions were influenced by the Spanish guitar as can be seen in notes being played repetitively in a rapid manner. A formal device in which each half of a sonata leads to a pivotal point, which Kirkpatrick termed "the crux", and, sometimes underlined by a pause or fermata. Before the crux, Scarlatti sonatas contain their main thematic variety, after the crux the music makes more use of repetitive figurations as it modulates away from the home key or back to the home key. Scarlatti played in the galant style. Kirkpatrick produced an edition of the sonatas in 1953, the numbering from this edition is now nearly always used – the Kk. or K. n
Baroque music is a period or style of Western art music composed from 1600 to 1750. This era followed the Renaissance music era, was followed in turn by the Classical era. Baroque music forms a major portion of the "classical music" canon, is now studied and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, Johann Pachelbel; the Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were accompanied by a basso continuo group while a group of bass instruments—viol, double bass—played the bassline.
A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers. During the period and performers used more elaborate musical ornamentation, made changes in musical notation, developed new instrumental playing techniques. Baroque music expanded the size and complexity of instrumental performance, established the mixed vocal/instrumental forms of opera and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed was an important part of many Baroque choral and instrumental works; the term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, in a description by Charles de Brosses of the ornate and ornamented architecture of the Pamphili Palace in Rome.
Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term "baroque" was adopted from Heinrich Wölfflin's art-history vocabulary to designate a historical period in music. The term "baroque" is used by music historians to describe a broad range of styles from a wide geographic region in Europe, composed over a period of 150 years. Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734; the critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances changed key and meter, speedily ran through every compositional device. Jean-Jacques Rousseau, a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, loaded with modulations and dissonances.
The singing is harsh and unnatural, the intonation difficult, the movement limited. It appears that term comes from the word'baroco' used by logicians." Rousseau was referring to the philosophical term baroco, in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument. The systematic application by historians of the term "baroque" to music of this period is a recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's categories to music, in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer and by Suzanne Clercx-Lejeune to use autonomous, technical analysis rather than comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period concerning when it began.
In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang. As late as 1960, there was still considerable dispute in academic circles in France and Britain, whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico Scarlatti, Johann Sebastian Bach under a single rubric; the term has become used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding and following periods of musical history; the Baroque perio
Palermo is a city of Southern Italy, the capital of both the autonomous region of Sicily and the Metropolitan City of Palermo. The city is noted for its history, culture and gastronomy, playing an important role throughout much of its existence. Palermo is located in the northwest of the island of Sicily, right by the Gulf of Palermo in the Tyrrhenian Sea; the city was founded in 734 BC by the Phoenicians as Ziz. Palermo became a possession of Carthage. Two Greek colonies were established, known collectively as Panormos or "All-Port"; as Panormus, the town became part of Empire for over a thousand years. From 831 to 1072 the city was under Arab rule during the Emirate of Sicily when the city first became a capital; the Arabs shifted the Greek name into Bal ` the root for Palermo's present-day name. Following the Norman reconquest, Palermo became the capital of a new kingdom, the Kingdom of Sicily and the capital of the Holy Roman Empire under Emperor Frederick II and King Conrad IV; the population of Palermo urban area is estimated by Eurostat to be 855,285, while its metropolitan area is the fifth most populated in Italy with around 1.2 million people.
In the central area, the city has a population of around 676,000 people. The inhabitants are known as Palermitani or, panormiti; the languages spoken by its inhabitants are the Italian language and the Palermitano dialect of the Sicilian language. Palermo is Sicily's cultural and tourism capital, it is a city rich in history, art and food. Numerous tourists are attracted to the city for its good Mediterranean weather, its renowned gastronomy and restaurants, its Romanesque and Baroque churches and buildings, its nightlife and music. Palermo is the main Sicilian industrial and commercial center: the main industrial sectors include tourism, services and agriculture. Palermo has an international airport, a significant underground economy. In fact, for cultural and economic reasons, Palermo was one of the largest cities in the Mediterranean and is now among the top tourist destinations in both Italy and Europe, it is the main seat of the UNESCO World Heritage Site Arab-Norman Palermo and the Cathedral Churches of Cefalù and Monreale.
The city is going through careful redevelopment, preparing to become one of the major cities of the Euro-Mediterranean area. Roman Catholicism is important in Palermitano culture; the Patron Saint of Palermo is Santa Rosalia. The area attracts significant numbers of tourists each year and is known for its colourful fruit and fish markets at the heart of Palermo, known as Vucciria, Ballarò and Capo. Palermo lies in a basin, formed by the Papireto and Oreto rivers; the basin was named the Conca d'Oro by the Arabs in the 9th century. The city is surrounded by a mountain range, named after the city itself; these mountains face the Tyrrhenian Sea. Palermo is home to a natural port and offers excellent views to the sea from Monte Pellegrino. Palermo experiences a hot-summer subtropical Mediterranean climate, mild with moderate seasonality. Summers are long and dry due to the domination of subtropical high pressure system, while winters experience moderate temperatures and changeable, rainy weather due to the polar front.
Temperatures in autumn and spring are mild. Palermo is one of the warmest cities in Europe, with an average annual air temperature of 18.3 °C, it's one of the warmest cities in Italy. It receives 2,530 hours of sunshine per year. Snow is a rare occurrence having snowed about a dozen times since 1945. Since the 1940s to nowadays there have been at least five times when considerable snowfall has occurred. In 1949 and in 1956, when the minimum temperature went down to 0 °C, the city was blanketed by some centimetres of snow. Snowfalls occurred in 1981, 1986, 1999 and 2014; the average annual temperature of the sea is above 19 °C. In the period from November to May, the average sea temperature exceeds 18 °C and in the period from June to October, the average sea temperature exceeds 21 °C. Palermo is surrounded by mountains; some districts of the city are divided by the mountains themselves. It was difficult to reach the inner part of Sicily from the city because of the mounts; the tallest peak of the range is La Pizzuta, about 1,333 metres high.
However the most important mount is Monte Pellegrino, geographically separated from the rest of the range by a plain. The mount lies right in front of the Tyrrhenian Sea. Monte Pellegrino's cliff was described in the 19th century by Johann Wolfgang von Goethe, as "the most beautiful promontory in the world", in his essay "Italian Journey". Today both the Kemonia are covered up by buildings. However, the shape of the former watercourses can still be recognised today, because the streets that were built on them follow their shapes. Today the only waterway not drained yet is the Oreto river that divides the downtown of the city from the western uptown and the industrial districts. In the basins there were, many seasonal torrents that helped formed swampy plains, reclaimed during history.
James Brydges, 1st Duke of Chandos
James Brydges, 1st Duke of Chandos, was the first of fourteen children of the 8th Baron Chandos and Elizabeth Barnard. Three days after his father's death on 16 October 1714, when he became 9th Baron Chandos, he was created Earl of Carnarvon, he was subsequently created Duke of Chandos in 1719, he was a member of parliament for Hereford from 1698 to 1714. First marriageOn 2 February 1695, Brydges married Mary Lake, daughter of Sir Thomas Lake and Rebecca Langham, she died on 15 September 1712. The couple had two children who survived childhood: John Brydges, Marquess of Carnarvon Henry Brydges, 2nd Duke of Chandos Second marriageAfter Mary's death, he married Cassandra Willoughby on 4 August 1713, she was the daughter of Emma Barnard. They had no children, she died 18 July 1735. Third marriageOn 18 April 1736, the Duke married Lydia Catherine Van Hatten, the daughter of John Van Hatten and Lydia Davall, they had no children. Brydges was educated at New College, Oxford. In 1694 he was elected to the Royal Society.
During the War of the Spanish Succession, Brydges was paymaster-general of the forces abroad, in this capacity he amassed great wealth. The ethics of his financial operations were called into question at the time, but it was accepted that people could profit from public office, he continued to engage in speculative investments after being made Duke of Chandos in 1719, but with less success – he lost money in the South Sea Bubble and the York Buildings Company. Brydges built a magnificent house "at vast expense" at an estate near Edgware in Middlesex. There Brydges ran through several architects prominent in the English Baroque, he began in 1713 with William Talman, whom he dismissed in favour of John James in 1714. Howard Colvin concludes that the south and east elevations, as well as the chapel, were the designs of Gibbs. Brydges dismissed Gibbs in 1719, completed the house under the supervision of John Price and, in 1723–25, Edward Shepherd. Cannons was demolished in 1747. On its site, now incorporated in Greater London, is Canons Park.
Brydges is said to have contemplated the construction of a private road across his own lands between this place and his never completed house in Cavendish Square, London also designed by Gibbs. Chandos was Lord Lieutenant of the counties of Hereford and Radnor, Chancellor of the University of St Andrews, he became involved in the efforts to create a home for foundlings in London that would alleviate the problem of child abandonment in the capital. The charity, called the Foundling Hospital, received its royal charter in 1739, on which the Duke is listed as a governor, he served as an early patron to his relative George Rodney to become famous for his victory at the Battle of the Saintes, during his early career in the navy. The Duke is chiefly remembered on account of his connections with George Frideric Handel, for whom he acted as a major patron, with Alexander Pope, seen as having slandered Chandos in one of his poems. Before Chandos was made a duke, he employed the young composer George Frideric Handel over a period of two years, 1717–18.
Handel lived at Cannons, where he composed his oratorio Esther and his pastoral opera Acis and Galatea. Handel composed the Chandos Anthems for his patron. In 1719 Chandos was one of main subscribers in the Royal Academy of Music, not the well-known conservatoire of that name but a corporation that produced baroque opera on stage in London. Alexander Pope, who in his Moral Essays was alleged to have ridiculed Cannons under the guise of Timon's Villa referred to the Duke in the line, "Thus gracious Chandos is belov'd at sight"; the poet was caricatured by Hogarth for his supposed servility to Chandos. Pope published a denial of his alleged satire of the Duke's estate, in which he said that the estate of the poem "differs in every particular from" Chandos's. According to Pope biographer Maynard Mack, Chandos thereafter assured Pope by letter that he believed him, i.e. that the Epistle to Burlington was not intended as a satire of his estate. The malice, was on the part not of Pope, but of the insinuators and slanderers, the hack writers whom Pope had ridiculed as dunces in his Dunciad.
The 1st Duke of Chandos and several members of his family are buried at the Chandos Mausoleum at the Church of St Lawrence, Whitchurch Lane, Little Stanmore, London. His third wife, who survived him, moved to Berkshire; the Dowager Duchess of Chandos, the widow of the 1st Duke, died in 1750 at Shaw House. Mrs. Elizabeth Montagu in a letter, dated Sandleford, 21 December 1750 to Miss Anstey, wrote: "My dear Miss Anstey... A little before I went to London I lost my good neighbour, the Dutchess of Chandos, a stroke of the palsy carried her off in a few days: her bodily pains were great, but her mind felt the serenity that gilds the evening of a virtuous life, she quitted the world with that decent fare-well which people take of it, who rather consider it as a place in which they are to impart good than to enjoy it Her character has made a great impression on me, as