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Musicology
07-31-2010, 07:10 AM
- MUSIC, THE BEST ANSWER-

In 1727 J.S. Bach in Leipzig was expected as Kapellmeister to write a cantata for the lately deceased queen of Saxony. A young man from the nearby Leipzig University, Kirchbach had been co-commissioned to coordinate the writing of its text, its music and performance. But a University man named J.G. Gorner somehow became involved and he even petitioned the University to exclude Bach from any music involvement in the project. Gorner said he wished to write the music. The University board sided with Görner. They even sent a messenger to Bach's house with a document saying Bach must promise never to call himself the University's "Director of Music," nor should he accept a music commission in which Leipzig University was involved. Bach, aware of the politics coming from the University simply refused to see the messenger, describing Gorner as ‘no more musical than a shoemaker’ and kept him waiting for an hour before he did so.

Bach wrote the music anyway. The University were forced to back down. And this cantata (BWV 178) was eventually performed. Exquisite music.

Another example of growing hostility from Leipzig University occurred in 1736-8 when the new rector of the school where Bach worked (a man named Johann August Ernesti) claimed it was his right to appoint prefects (amongst which were several who usually acted as Bach's assistant music directors and teachers). Ernesti, a man with no musical taste or talent started to write an avalanche of letters to the town council complaining about Bach's musical output and performance. Contemporary accounts describe shouting matches in church services where Bach would physically remove one of Ernesti's musically useless appointees and substitute one of his own. This issue came to a head when Bach wrote the King to order the council to allow himself to appoint music related prefects, and asking the town council to demand a personal apology from Rector Ernesti. The King agreed. It had been the rule for generations. But nothing was ever done about it.

The attacks continued. A year later 1737 Bach was severely criticized by 23 year old Johann Adolf Scheibe in a publication (Der Critische Musicus, Hamburg) for removing "...every natural element from his musical pieces through their bombastic and muddled nature, obscuring their beauty through an over-abundance of art." Local writer Birnbaum came to the rescue in a pamphlet, dedicated to Sebastian himself, entitled "Unbiased Comments on a Dubious Passage in...Der Critische Musicus". In this particular controversy Bach made no effort to defend himself

The picture often painted of Bach during those Leipzig years is that of a dour personality, one always seeking redress for some slight. To be fair, Bach's duties in Leipzig were extraordinarily heavy, and his employers, the city council, had no sympathy or appreciation of Bach's skill or higher calling. The city University, already stuffed with his critics continued to make major problems for his career. And his employers were constantly reprimanding him for not having their approval for his texts or for delegating to others his responsibility to teach Latin. Their relationship became so bad when Bach died and a search was mounted for his replacement the council noted in the records of their records, "We must not forget we want a schoolmaster, not a musician."

BWV 198
Chorus
http://www.youtube.com/watch#!v=p1S6izPP2S8&feature=related

yanni
08-01-2010, 04:58 AM
1727 marks the end of what's known as "Bach's early period" (characterised by his laborious cantatas manufacture involving Anna Magdalena among others).

It also marks the coronation of King George II, October 1727.

Already an englishman as from February, Handel/Bach was commisioned to write the music for the occasion.


Zadok the Priest, and Nathan the Prophet anointed Solomon King.
And all the people rejoic'd, and said:
God save the King! Long live the King!
May the King live for ever,
Amen, Allelujah

...and if biblical Ananiah cured Paul's blindness, another Ananiah, later on, did not finally cure Handel/Bach's.

He called himself "Ananiah il saggio", was the founder of The Mizraim Rite and was an oculist and an occultist both.

Musicology
08-01-2010, 05:17 AM
Yanni,

My research indicates that Athananius Kircher (1602-1680) was the first to write on the Egyptian texts which later (i.e. from around a century later, c.1780 onwards) became the basis of the so-called 'Rite of Mizraim', spread by Cagliostro, his wife, and other 'enlightenment' lost souls across the ruling elites of continental Europe. On which the higher degrees of Freemasonry (30th to 33rd Degree) were constructed.

As for the operational blinding and death shortly afterwards of J.S. Bach, all the evidence I have seen suggests the man involved died in a monastery near Prague a few years later.

But of your 'Ananiah il saggio' I know nothing except that a history of music without appreciation of Venice and the role of Venice in the 'great' composers is impossible.

http://webcache.googleusercontent.com/search?q=cache:VqyVt-si530J:marcoponce.com/2010/01/athanasius-kircher-s-j-the-greatest-occult-connection-to-the-jesuit-order/+rite+of+mizraim+athanasius+kircher&cd=1&hl=en&ct=clnk&gl=uk


Regards

yanni
08-01-2010, 05:53 AM
Nicolaus Caussin came before Kircher and, as for "Ananiah il saggio" you may google for him and read the first item in the list.

:lurk5:



Yanni,

My research indicates that Athananius Kircher (1602-1680) was the first to write on the Egyptian texts which later (i.e. from around a century later, c.1780 onwards) became the basis of the so-called 'Rite of Mizraim', spread by Cagliostro, his wife, and other 'enlightenment' lost souls across the ruling elites of continental Europe. On which the higher degrees of Freemasonry (30th to 33rd Degree) were constructed.

As for the operational blinding and death shortly afterwards of J.S. Bach, all the evidence I have seen suggests the man involved died in a monastery near Prague a few years later.

But of your 'Ananiah il saggio' I know nothing except that a history of music without appreciation of Venice and the role of Venice in the 'great' composers is impossible.

http://webcache.googleusercontent.com/search?q=cache:VqyVt-si530J:marcoponce.com/2010/01/athanasius-kircher-s-j-the-greatest-occult-connection-to-the-jesuit-order/+rite+of+mizraim+athanasius+kircher&cd=1&hl=en&ct=clnk&gl=uk


Regards

Musicology
08-02-2010, 05:46 AM
Yes, so it's basically right. Yes ?


Nicolaus Caussin came before Kircher and, as for "Ananiah il saggio" you may google for him and read the first item in the list.

:lurk5:

yanni
08-02-2010, 08:13 AM
According to some sources Raimondo di Sangro was the Mizraim founder while others claim it was founded in Zante.

My research has produced enough evidence to conclude Antonio Cocchi was the founder: He was linked to Napoli/Raimondo di Sangro as well as Zante where part of of his "parenti" came from (presence evident mid 16th cent, other branches appearing simultaneously in main "Italy", later on Holland and West Indies, early 17th cent, France, Germany, Silesia, Russia shortly after.)

Cagliostro was a frontman only who was blamed, wrongly imo, for all "bad" consequences of the "enlighment", mainly the french revolution and Robespierre's period of "terror" that followed.

It was far deeper and much wider than just "Cagliostro".

Whatever your "it" was meant to be, it all started in post Medici, english colonised Florence, not Rome, as already explained in "Beethoven's Kochs", to "open up" sea routes and trade, ie it quickly spread mainly in marine ports and "commerce oriented" groups not limited by other "national interests" or religious dogmas.

Musicology
08-02-2010, 09:08 AM
I agree with much of what you say. But the indisputable fact is the Venetian occultists were the architects of early Freemasonry across Europe (from its Giovanni origins in Venice) which was further developed with London becoming its base from 1717 onwards, also of the modern banking system, the slave trade, and creating links with the Jesuit Order for the 'counter reformation' through Cardinal Contarini of Venice, their very first patron. Out of which came the Council of Trent. It was the Jesuit link with these occultists of Venice which was soon successfully transplanted in to England (focusing on the City of London) where theology had failed, from the time of Henry 8th onwards (where Venetians soon became Henry 8th's main advisors) and afterwards came the formation of the East India Company and the Dutch East India Company. It was Venice who had destroyed Italian banking (as they had already done centuries before, by their monopolies of precious metals - one which all real currencies depend). The internal feuds within the elites of Roman Catholicism in the Holy Roman Empire are clear and obvious. Nowhere more clear than with the 'Guelphs'. Out of which, eventually, came the (Guelphian) Hanoverian dynasty of kings who came to rule England. Occultism effectively took over the papacy. And it did so through the influence of Aristotelian (oligarch style) Venice. With Venice as its model. A Venice whose banking and commercial interests were now exported northwards, to the City of London and to Holland, thus effectively neutralising both nations. From within. Since the fraternities from the start (Rosicrucianism and later Freemasonry) were features of the same growing cancer of occultism. All loyal to Romanism at its higher levels.

Cagliostro was (I agree) only one verifiable link in spreading this corruption. For sure. So were Casanova, and so were many others. Voltaire and Rousseau were also part of this process. The Enlightenment was the public 'secularisation' of these interests across Europe in preparation for a 'secularised' but still fully controlled society. In fact, virtually nothing changed. Since the ruling elites remained in place in to the early 19th century - subject only to being ultimately controlled by and dependant upon the same Rome. As we see today in globalism. And in countless other examples of 'wickedness in high places'. From the late 17th century (with the birth of the modern credit system in England by such statutes as 'Cestui Qui Vie' (1666) in London, slavery (based on birth certificates, trust funds etc) became the new global system of commerce. And everywhere the British went so also went their system of 'law'. Neatly coinciding with the false flag operation that was the Fire of London of that date. Completely distracting people from realising what the aim really was. So that the legal fiction was born, on which the entire modern credit system is today based. That of a 'lien' being placed on each man and woman, virtually from birth.

Legal Dictionary -

In law, a lien (UK: /ˈliːən/; US: /ˈliːn/) is a form of security interest granted over an item of property to secure the payment of a debt or performance of some other obligation. The owner of the property, who grants the lien, is referred to as the lienor and the person who has the benefit of the lien is referred to as the lienee.

And those outside of 'liens' are considered to be 'aliens'.

On which the elites of the British Empire (aka Roman occultism) started to dominate much of the world. Through money, the increasingly corrupt legal industry, and the credit system. A union of money, ecclesiastical power, bogus 'law' and corruption.

http://www.opsi.gov.uk/RevisedStatutes/Acts/aep/1666/caep_16660011_en_1

Regards



According to some sources Raimondo di Sangro was the Mizraim founder while others claim it was founded in Zante.

My research has produced enough evidence to conclude Antonio Cocchi was the founder: He was linked to Napoli/Raimondo di Sangro as well as Zante where part of of his "parenti" came from (presence evident mid 16th cent, other branches appearing simultaneously in main "Italy", later on Holland and West Indies, early 17th cent, France, Germany, Silesia, Russia shortly after.)

Cagliostro was a frontman only who was blamed, wrongly imo, for all "bad" consequences of the "enlighment", mainly the french revolution and Robespierre's period of "terror" that followed.

It was far deeper and much wider than just "Cagliostro".

Whatever your "it" was meant to be, it all started in post Medici, english colonised Florence, not Rome, as already explained in "Beethoven's Kochs", to "open up" sea routes and trade, ie it quickly spread mainly in marine ports and "commerce oriented" groups not limited by other "national interests" or religious dogmas.

p.s. Florence was just to create the illusion that Freemasonry was an 'English' invention. In point of fact it was not. Signor Cocchi was himself an early Freemason member as you know in Florence. And Florence was a main base of British Empire power in Italy. Cocchi at this time was working for the British side of this deception and was in the employment of the British elites. That is a plain, recorded fact.

English Duke, Charles Sackeville Duke of Middlesex, founded a lodge in Florence together with some Englishmen living there, such as Horace Mann, along with the poet Tommaso Crudeli, the first ‘martyr’ of Italian Freemasonry. In that same year, Thomas Howard, eighth Duke of Norfolk and a prominent mason, spent a long time in Italy and visited Venice and Florence. Members of the lodge in Florence also included Antonio Cocchi, personal physician to Teophilus Hastings, Earl of Huntingdon, and the Abbot Antonio Niccolini, erudite patron of art and literature, renowned for his library and on friendly terms with the Prince of Wales and Horace Walpole. Then there was Antonio Conti, from Padua, (who had met Desaguliers and Newton in England), as well as the Duke of Montague and the ‘Chevalier’ Ramsay who was showing Venice to Montesquieu

http://webcache.googleusercontent.com/search?q=cache:fymMZaAgBVsJ:www.freemasonrytoday.c om/10/p08.php+cocchi+florence+freemasonry&cd=3&hl=en&ct=clnk&gl=uk

yanni
08-02-2010, 11:37 AM
I have already answered this assumption of yours (that masonry in general started in Rome and Venice), months ago in another thread, as "not supported by serious evidence".

With regard to the Cocchis, I am of the opinion that they served quite succesfully their own interests thoughout the 18th century and beyond, managing, after 1747 or so, to be in top diplomatic positions in continental Europe while maintaining excellent relations with parts of the british elite (including royalty) even after their pro german-french participation across the Atlantique (which might explain the pro "England"-in fact pro Hanover/Prussia aliance- of the 1783 Versailles Treaty signature).





p.s. Florence was just to create the illusion that Freemasonry was an 'English' invention. In point of fact it was not. Signor Cocchi was himself an early Freemason member as you know in Florence. And Florence was a main base of British Empire power in Italy. Cocchi at this time was working for the British side of this deception and was in the employment of the British elites. That is a plain, recorded fact.

English Duke, Charles Sackeville Duke of Middlesex, founded a lodge in Florence together with some Englishmen living there, such as Horace Mann, along with the poet Tommaso Crudeli, the first ‘martyr’ of Italian Freemasonry. In that same year, Thomas Howard, eighth Duke of Norfolk and a prominent mason, spent a long time in Italy and visited Venice and Florence. Members of the lodge in Florence also included Antonio Cocchi, personal physician to Teophilus Hastings, Earl of Huntingdon, and the Abbot Antonio Niccolini, erudite patron of art and literature, renowned for his library and on friendly terms with the Prince of Wales and Horace Walpole. Then there was Antonio Conti, from Padua, (who had met Desaguliers and Newton in England), as well as the Duke of Montague and the ‘Chevalier’ Ramsay who was showing Venice to Montesquieu

http://webcache.googleusercontent.com/search?q=cache:fymMZaAgBVsJ:www.freemasonrytoday.c om/10/p08.php+cocchi+florence+freemasonry&cd=3&hl=en&ct=clnk&gl=uk

Musicology
08-04-2010, 06:22 AM
Undeniable evidence that the Cocchi clan were working for the British Empire and for the Holy Roman Empire. Employed by the British elites who were slaves of that same Empire. An Empire of which the Kings of Britain were themselves members. King George 1st, 2nd, 3rd etc all 'Electors' and 'Arch Treasurers of the Holy Roman Empire'. This is very clear. So clear I might remind you Yanni it was said months ago, right here on this thread. Because it is true. It is a fact.

And this fact is sufficient for me. The rest is more of the same.

Regards

And, Yanni, here something from one of those 'laborious' cantatas to which you refer ! And laugh at our ignorance.

BWV 30
Aria

http://www.youtube.com/watch?v=BlQGJyILPsw

yanni
08-04-2010, 12:13 PM
"laborious cantatas manufacture" is what I wrote above.

As JSBACH's fan and musiclogist, do you know if, after his alleged July 1750 death, his sons took part in the theatrical-musical festivities that followed immediately after in Prussia, lasting practicaly to the end of the year?

Agricola, his alleged pupil and "creator", another "mystery" just like Marpurg(aka...), certainly did (take part) along with most of our other heroes such as Algarotti, Voltaire, Collini, CLCocceji, La Barberina, Gluck's "Lobkowitz" etc etc.

There were even onstage fireworks performed, much like they used to do in Handel's London*.

Not to forget Marpurg's patron(!), count Rothenburg(aka....!), Frederick's liebling advisor in foreign affairs ("the two" having just succeeded in bringing Prussia closer to France).


*Wiki: 'The Music for the Royal Fireworks (HWV 351) is an orchestral suite composed by George Frideric Handel in 1749 under contract of George II of Great Britain for the fireworks in London's Green Park on 27 April 1749. It was to celebrate the end of the War of the Austrian Succession and the signing of the Treaty of Aix-la-Chapelle in 1748.'

Jemima Grey was present:

"…the Number, the Sizes & various Forms of the Rockets were quite surprising, one Explosion particularly which they say was of Six Thousand was beyond all Imagination, & excepting to poor Mrs. Talbot who was frightened out of all her Wits (for it was not indeed a very Quiet Amusement) they were no less Beautiful."

Musicology
08-07-2010, 08:38 AM
If we had to decide which of the two is laborious (J.S. Bach or Yanni) I think Yanni would win.

http://www.youtube.com/watch?v=aprnomUC8Hk

yanni
08-08-2010, 01:03 AM
Cesarion*, let us keep unspoiled
Our faith, and be true friends,
And pair our lives like noble Greeks,
And to like noble ends !
That friend from friend may never hide
A fault through weakness or thro' pride,
Or sentiment that cloys
Thus gold in fire the brighter glows,
And far more rare and precious grows,
Refined from all alloys.

Printed 1750 at Sans Soucis (meaning "care free", french. The Palace was built 1747-1750).

"Ceasarion" and his master did keep their promise to old Fritz, afterall.

*According to Index librorum prohibitorum: 1600-1966 by Jesús Martínez de Bujanda,Marcella Richter,Université de Sherbrooke. Centre d'études de la Renaissance p479: Cesarion-Kaiserling was one of many of Voltaire's pseudonyms.

Musicology
08-10-2010, 11:44 AM
One of the absurdities of western human history is the fiction that the Enlightenment discovered things which were already common sense long before they were supposedly 'discovered'. What does that tell us of the centuries before the 'Enlightenment' ? And what does it tell us of human gullibility ?

Slavery is wrong. Those who argued for an end of slavery during the 'Enlightenment' are portayed in textbooks as heroes. Why did it take 1,000 years to realise this common sense fact ? What does that tell us of the Holy Roman Empire ? There is a long list of common sense 'discoveries' which convince me the Enlightenment was nothing but the stage managed secularisation of western Romanised society, preserving intact the usual patrons and the usual elites in dynastic positions of power, while a pseudo individualism became the new religion and a new illusion. Managed/patronised from the start and managed by these same ruling elites. And thus a theatre of the absurd. Since it achieved, in fact, zero. Except to create lots of 'enlightenment' slaves. Whose fraternities and whose obscurantism is their one and only 'achievement'.