The puzzle of the socalled "Bach variations".

The Bach variations.

Following the solution of many other 18th classical music puzzles in this forum (primarily "The Manufacture of Mozart" by Robert Newman-ehmmm-and "The puzzle of Beethoven's Kochs" by yourstruly) Bach's famous variations (also known as "Goldberg variations", the re "tale" manufactured by musicologist "Nicolaus Forkel") can now easily be put in historic context and explained.

Interested parties are wellcome to study carefully thru am threads...

as well as....

http://en.wikipedia.org/wiki/Goldberg_Variations

http://www.keyserlingk.info/default....44&city=FAMILY

.....AND....

http://www.box.net/shared/iypxjy9f6g (last relative online publication-Sept 16, 2009 by Alexander Nicolas Graf Keyserlingk)

...and then declare herein their interest to participate in the discussion and assist in finding the solution to the title's puzzle.

Greetings from Athens Greece!

http://schillerinstitute.com/fid_97-...h_mus_off.html

‘Thinking Through Singing’ The Strategic Significance of J.S. Bach’s Musical Offering by David Shavin (Fidelio, Vol. IX ,No, 4. Winter 2000).

A half-truth naturally, the term "excellent" referring to the precise chirurgical excision of the other half of 18th century german history, culture included.

Count Hermann Keyserling is the founder of the School of Wisdom in modern times. His son, Professor Arnold Keyserling, Vienna, Austria, is a well known philosopher and spiritual leader in Europe today. Count Keyserling is the author of numerous books, many of which were best sellers in the 1920's in Europe, North America, and South America, including The Travel Diary of a Philosopher, America Set Free, Europe, The World in the Making, The Book of Marriage, Immortality, Creative Understanding, South American Meditations.

Count Keyserling is the first Western thinker to conceive and promote a planetary culture, beyond nationalism and cultural ethnocentrism, based on recognition of the equal value and validity of non-western cultures and philosophies. He founded the School of Wisdom in Darmstadt,* Germany in 1920 based on the original Schools of Wisdom which prospered over two thousand years ago in Northern India under Buddhist rule. Unlike other spiritual leaders of the day, he did not set himself up as a guru, or establish any kind of personality cult. Instead he encouraged the equal participation of many others, including his friends, Carl Jung, Richard Wilhelm, Rabindranath Tagore, and Hermann Hessee.

Hermann Keyserling was a heriditary Count from the Baltic country of Estonia. His families position and estate in Estonia went back centuries, to the early days when Estonia first became a province of Germany. One of his ancestors is the Count Keyserling who commissioned Bach to create the Brandenberg concertos.

http://www.schoolofwisdom.com/count.html

*On Darmstadt see last post of http://www.online-literature.com/for...834#post883834

:gnorsi:

When the musical career of G.F. Handel was being invented for the glory of the elites of the British Empire at Hamburg, later in Venice, Rome and of course London (with the assistance of the Elector of Hanover, dignataries of Italy, more than 6 Roman Catholic Cardinals in Rome and Venice and a dozen convenient patronising aristocrats of the British Empire - themselves close associates of Rome, plus the input of numerous Italian opera composers whose names are today almost unknown and whose contribution to 'Handel's' music is still to this day overlooked - and at a time when tens of thousands of non-Catholics were still being forcibly evicted from their own homes in the city of Salzburg for no other crime than not being Roman Catholic ) - and with even more help from the fraternity members of the Privy Council of England itself) - then, over the decades, the history of music (so-called) was about to be 'excised' and grossly invented. By none other than those who invented 'history' themselves. By wholesale invention and wholesale omission of entire musical careers. To the point where a stunned Viennese audience finally (and reluctantly) agreed to stage the first performance of a musical work of J.S. Bach in their capital city, in 1847 (nearly a century after the composer's death). And not without complaint. A strange pattern of behaviour matched only by London itself, by Italy, and by the rest of musical Europe.

'Vienna, city of music, and of musical amnesia'.

When "Brandenburg" is mentioned, Handel comes automatically to mind-his birthpalce-instead of JSBach. The two, both protestants, were born the same year too and I have yet to see an answer to the question 'why Bach wrote the Brandenburg concertos and not Handel?'.

But my focus in this thread is the manufacture of JSBach by youknowwho (G.Cocchi and aliases, ie Wieland, WFBach, JCBach, Koch, Keyserlingk....and Pierre Michel Hennin).

Salute!

Pierre Michel Hennin has already been identified as one of Gioachino Cocchi's many aliases (including Comte de Saint Germain and Johann Christian Bach among others) but where is the evidence that he was somehow involved in Johann Sebastian Bach's "manufacture" or that he had something to do with the socalled "Bach" or "Goldberg" variations?

JSBach's "relations" to "Cocceji-Koch-Cocchi" have already been outlined in "The puzzle of Beethoven's Kochs" (where JS Bach's Koch associates have been briefly mentioned).

With regard to Cocchi-Koch's involvement in the Variations as well, here is a short selection from various sources answering both above questions:

We know from Bach's nephew and private secretary, Johann Elias Bach, that in 1739 Weiss visited Bach in Leipzig, together with Johann Christian Bach, and over the course of several weeks, 'extra special' music was heard in the Bach household. [1.11]

Fracois Algarotti Le 20 septembre 1739, il se rendit à Rheinsberg, avec lord Baltimore, pour voir le Prince royal,I-a qui dès lors lui accorda son amitié, et entra en correspondance avec lui. Immédiatement après son avénement, Frédéric l'appela à sa cour, le distingua de toute manière,I-b le nomma comte, le 20 décembre 1740, et, au mois d'avril 1747, chambellan et chevalier de l'ordre pour le mérite.

In 1741, at the age of 56, Bach visited Berlin for the first time, and discussed with his son, C.P.E. (Emanuel) Bach, Frederick’s harpsichordist, the situation with the new king. Immediately upon his return to Leipzig, in deliberations with his key political supporter and strategist, Count Keyserling, Bach launched the intensive project that occupied his last decade—stretching dimensionalities with fugal puzzles, and pedagogically displaying the steps involved in expanding one’s mind. When Bach composed his “Goldberg Variations”—named for Count Keyserling’s keyboardist, Johann Gottlieb Goldberg—Bach also provided a series of canons which took the thematic idea under consideration,

Nach älteren Ausgaben von „Groves Dictionary of Music“ (3. Aufl. 1938) ist derjenige, der ca. 1745 in London Musik unter dem Namen St. Germain veröffentlichte, der italienische Komponist und Violinist Giovannini, bekannt als Autor von „Willst du dein Herz mir schenken“ im Notenbüchlein der Anna Magdalena Bach*. Er lebte seit 1740 in Berlin und starb 1782. Dies scheint auf einer Verwechslung zu beruhen, die zuerst in einem Künstler-Lexikon von Gerber 1812 unterlaufen war[17]. In London trug Saint-Germain unter anderem einige Arien für die mäßig erfolgreiche Oper des italienischen Opernkomponisten Brivio bei (arrangiert von Geminiani), die die Samstage vom 9. Februar bis 20. April 1745 im Haymarket Theater aufgeführt wurde. Er studierte dabei auch einige Lieder mit der Sängerin Giulia Frasi ein. Bei einigen Privatkonzerten sang Saint Germain auch selbst. Lady Jemima Grey ist von seinem Stil, der Emotionen sehr plastisch zum Ausdruck bringt, und seiner schwachen Stimme nicht sehr erbaut: His manner is beyond any description.

(Translation of german text: "As per Grove dictionary of Music (3rd edition 1938) the man who played music ca.1745 in London under the name of Saint Germain was the italian composer and violinist Giovannini, known author of "Will you give me your heart?" in the notebook of Anna Magdalena Bach. He lived as from 1740 in Berlin and died 1782**.This tends to clarify a relative mixup in Gerber's Artists-Lexicon of 1812. In London Saint Germain presented among others his own arias for the very popular opera L'incostanza delusa of italian composer Brivio (arranged by Geminiani) staged Saturdays from February 9th to April 20th 1745*** in Haymarket theater..." etc.)

But we have already established elsewhere that Brivio was Cocchi/Saint Germain (See: http://www.online-literature.com/for...d.php?p=873911 post 96) ie Gerber was propably trying to say something close to the truth in 1812(!) and Grove covered up in 1938!

Furthermore:

A separate research supports "Kaiserling" or "Keyserlingk" (Wieland's, CPEBach's and or JCBach's alleged relative input to Forkel for his tale on "Bach's" variations) as yet another Cocchi alias or later "invention", the parallel diplomatic careers of Hennin and Keyserlingk being remarkably similar, "Keyserlingk" taken off circulation (his "death" in 1764) following Poniatowski's coronation in Poland as follows:

Herman Karl von Keyserling envoy extraordinary (poseł nadzwyczajny) and minister plenipotentiary (minister pełnomocny) 1763 to 30th September 1764(his death).

Hennin exerçait les fonctions de Résident de France à Varsovie depuis le mois de décembre 1763; il dut ensuite quitter la Pologne, sans doute à la suite de la pression exercée par le parti russe triomphant. Selon le Repertorium (tome 3, p. 130), il est parti le 18 octobre 1764 ou peut-être le 16 juillet.

There is much more evidence available (on Cocceji, Collini, Hennin, Wieland=Rousseau, Grimm, Collini, Voltaire etc) for the period and beyond, some already presented, to support all above.

Finally, on "a" (of irish descent apparently) Lord Baltimore, Algarotti (propably another alias of Cocchi) and how history is written, see Thomas Carlyle relative 1858 letter here: http://carlyleletters.dukejournals.o...80318-TC-JN-01

:patriot:

*Anna Magdalena was allegedly ill at the time (1741).

**1782 is the year Johann Christian Bach "died" in London.

***Walpole, Correspondence, Yale, v.26 (1954). Letter to Horace Mann, 9 Dec 1745, pp.20-21.St Germain is released although previously accused for spying. Walpole writes: "He sings, plays on the violin wonderfully, composes, is mad, and not very sensible."

Cocchi's other alias, Gluck: In 1745, Gluck left Italy for London, where he had been asked to be house composer at the King’s Theatre. He gave two operas there and played two concerts on the musical glasses. He may also have met Handel, who is supposed to have said of the younger composer, “He knows no more of counterpoint than my cook.” Gluck’s London sojourn was short, as he was in Dresden by June 1747, composing operas for and possibly singing with a traveling opera troupe run by Pietro Mingotti

Vaneschi,author of L'Incostanza's lyrics (with Saint Germain supplying the music),cooperated immediately after with Gluck as above.

Hi there Yanni,

You have been in a forest so long you cannot see the wood for the trees. Why not read a biography or two on the life of G.F. Handel ? For example ? Or why not read the Italian background to Handel's early and later career and its patronage by leading papal secretaries and by a string of cardinals, all of whom were members of fraternities ? This too is irrelevant, right ? It will then become crystal clear Handel's career was stage managed from the virtual start. Even before he left Germany. Since the first 3 'Handel' operas were not his and were disputed even before he left Germany. And was then feted and celebrated by the cardinals of Rome, no less ! Handel the 'Lutheran' composer being wined and dined by occultists in Venice and Rome, by leading managers of music in Italy, by the Guelph faction in Hanover (who created and manipulated their takeover of the monarchy in England in the early 18th century) ! Does this not strike you as being an odd series of facts ? As being strange ? At a time when entire cities in Austria and in Germany were being cleared of non-Catholic residents ? I mean, at what point, Yanni, do the facts of history start to mean anything in the history of music ? All of Handel's early career was being deliberately stage managed. With the connivance of the Elector of Hanover -soon to be king of England. And his family and elites. Plus the elites of Rome and Venice. As usual. The same G.F. Handel who somehow could not once meet Bach, though he tried 3 times in succession to meet him and may even have written the English Suites for him ? And without a single reference in Handel to Bach ! Nor elsewhere in music publications or references of the time. Does it not seem, when you read the record of Handel's early, middle and late career that he and his reputation were being invented for the glory of a British Empire with the musical assistance of various Italian composers, now married to the success of this recently arrived Hanoverian dynasty, who had taken over England (with the full connivance of Rome and the Venetians) ?

You speak of Cocchi. Well, may I suggest you do some reading of Cocchi and Handel. That clan were in close association with the musical network already described. By correspondence. If you cannot find the evidence just ask me. In Venice and again in Rome. They (the Cocchi clan) were part of Handel's Italian experience. (As they were later with Mozart's arrival in London).

You suggest Handel may have written the 'Brandenburg Concertos'. Care to provide us with a shred of evidence ? The early works of Handel consist of precisely what ? When, in fact, the celebrity was to be entirely that of a Rome patronised Handel. Aided and abetted by English aristocrats loyal to Rome themselves. When Bach, as already said, was virtually unknown to the musical public of Europe for a century after his death, even of England, and remained unperformed and unpublished until well in to the 19th century - this with so few exceptions it becomes almost laughable.

The best criticism of Bach would be to produce some evidence, don't you think ? Since, tons of evidence shows the scale of political and ecclesiastical intrigue in making the careers of Handel and Mozart but none at all with J.S. Bach.

Maybe you are hoping if enough 'mud' is thrown some will stick ? Although, in plain sight, is as said evidence of collusion, manipulation, and fraternal invention (wholesale) in the English career of G.F. Handel, in that of W.A. Mozart and so many others. Amnesia gives way to double vision and leads to eventual deafness. But why bring Beethoven into our conversation ? (LOL)

Regards

I never suggested "Handel may have written the Brandenbourg concertos" as you write (he did however, if you believe his story as it still reads), I merely quoted a "wise" Keyserlingk in fact (author of "many bestsellers" that promoted "our" englightment thru budhism-not a bad idea afterall-between WWI and II) who claimed his Keyserlingk ancestor commissioned Bach for the Brandenburg concertos as well, ie possibly implying that Handel and Bach were one and the same (propably true but not in the subject other than sharing a common odour, hence the quote).

My focus and the subject of this thread are "The socalled Bach variations" and it's quite obvious you select to avoid it, escaping via Handel, instead of disputing -or even commenting upon-my modest presentation of findings, a collage from various sources.

Feel free to present any documents available on Cocchi, including any eventual correspondence with Handel!!

You say "a forest", I insist on "a pile of Grove-ling garbage" in urgent need of processing.

BTW Do you see any link of "Lord Baltimore's" 1739 visit to prince, soon after Kaiser, Frederick of Prussia and events "across the pond" that followed?

I do!

Regards.

Yanni,

I can assure you (and have said this many times) that the career of the Cocchi clan was associated with the Holy Roman Empire domination of opera and the musical scene. And it included association with major church and secular leaders from before the time of Handel, during Handel's time, and beyond.

Cocchi's were part of that fraternal network.

I cannot take part in your thread because I do not understand, exactly, what the 'puzzle' is, let alone the 'solution'.

Yanni,

I can assure you (and have said this many times) that the career of the Cocchi clan was associated with the Holy Roman Empire domination of opera and the musical scene. And it included association with major church and secular leaders from before the time of Handel, during Handel's time, and beyond.

Cocchi's were part of that fraternal network.

Obviously "Thinking through singing" doesn't always work, Robert. To reinforce your higher chakras, you should perhaps try Keyserlingk's http://www.schoolofwisdom.com/school.html.

One of their founders (Hermann or his son Arnold) was Reichschancellor's Bismarck's grandson!

Call again when ready.

Regards.

Quoting Wikipedia on Thomas Carlyle's relative (to the above) work:

His last major work was the epic life of Frederick the Great (1858–1865). In this Carlyle tried to show how a heroic leader can forge a state, and help create a new moral culture for a nation. For Carlyle, Frederick epitomized the transition from the liberal Enlightenment ideals of the eighteenth century to a new modern culture of spiritual dynamism: embodied by Germany, its thought and its polity. The book is most famous for its vivid, arguably very biased, portrayal of Frederick's battles, in which Carlyle communicated his vision of almost overwhelming chaos mastered by leadership of genius. However, the effort involved in the writing of the book took its toll on Carlyle, who became increasingly depressed, and subject to various probably psychosomatic ailments. Its mixed reception also contributed to Carlyle's decreased literary output.

He should have studied Budha instead as well!

the effort involved in the writing of the book took its toll on Carlyle, who became increasingly depressed, and subject to various probably psychosomatic ailments.

One might suspect that Carlyle wasn't the only one so afflicted.:sosp:

All we need are a few icons. Secularised, of course ! Who will dominate our cultural, academic and even musical landscape. Created by and presided over by the same elites. Providing us with our 'education'. Drip-fed to us by the experts of culture through the music industry as we continue our lives on Easter Island, west of Chile, in the South Atlantic. And, as for the facts of history, these to be 'sanitised' (as usual) with the usual suppression of 99.9% of reality. Mission accomplished.

If facts are inconvenient we can always watch 'Amadeus', whose trailer says, 'Everything you've heard is true'.

This process qualifies us to be described as 'educated', 'musical', and 'cultured', and we may take our place in polite company at cucumber sandwich parties sponsored by the Baron of Monrovia, the Duchess of Venice, and by the unelected patrons of our dynastic feudal system.

It has been well said that every civilization defines itself by the myths to which it subscribes. I see no reason to doubt this. Meanwhile, the never ending war on error continues, chocolate rations are about to be increased, and razor blades remain in short supply. You will pardon the shortness of this post. I am too busy bailing out the corporate bankers of London. And trying to avoid walking in to the lamp-posts of our musical history.


:rofl:

Robert

Au contraire, Mme ! I have never been more happy, more content. There is more culture in the growing of a carrot or a potato than in any 'Mozart' symphony. I consider compost to be of more cosmic significance than the 'great' composers.

Quote:

---

Originally Posted by stlukesguild

the effort involved in the writing of the book took its toll on Carlyle, who became increasingly depressed, and subject to various probably psychosomatic ailments.

One might suspect that Carlyle wasn't the only one so afflicted.:sosp:

---

Easter islands were in the South Pacific last time I looked.

Interesting story, how the natives wellcomed "free trade" in 1722:

They fought each other to death but before they vanished (sometime late 18th cent) they-at least-pulled down all their idols-false prophets(statues erected with great pain to the memory of their ancestors).

How wise of you to insist on growing organic potatoes and carrots (from now on), Robert.

Regards.

Quote:

---

Originally Posted by Musicology

All we need are a few icons. Secularised, of course ! Who will dominate our cultural, academic and even musical landscape. Created by and presided over by the same elites. Providing us with our 'education'. Drip-fed to us by the experts of culture through the music industry as we continue our lives on Easter Island, west of Chile, in the South Atlantic. And, as for the facts of history, these to be 'sanitised' (as usual) with the usual suppression of 99.9% of reality. Mission accomplished.

If facts are inconvenient we can always watch 'Amadeus', whose trailer says, 'Everything you've heard is true'.

This process qualifies us to be described as 'educated', 'musical', and 'cultured', and we may take our place in polite company at cucumber sandwich parties sponsored by the Baron of Monrovia, the Duchess of Venice, and by the unelected patrons of our dynastic feudal system.

It has been well said that every civilization defines itself by the myths to which it subscribes. I see no reason to doubt this. Meanwhile, the never ending war on error continues, chocolate rations are about to be increased, and razor blades remain in short supply. You will pardon the shortness of this post. I am too busy bailing out the corporate bankers of London. And trying to avoid walking in to the lamp-posts of our musical history.


:rofl:

Robert

---

Yes, that was before they were transfered to Vienna.

Last I heard all nations were in favour of 'free' trade, at a price, of course !!!!!

And yes, carrots and potatoes are more important than 'great' composers. I have become a compositor myself.

Regards

Quote:

---

Originally Posted by yanni

Easter islands were in the South Pacific last time I looked.

Interesting story, how the natives wellcomed "free trade" in 1722:

They fought each other to death but before they vanished (sometime late 18th cent) they-at least-pulled down all their idols-false prophets(statues erected with great pain to the memory of their ancestors).

How wise of you to insist on growing organic potatoes and carrots (from now on), Robert.

Regards.

---

Yes, Vienna of course, rulers of the seven seas for the past few centuries, great sailors and shipping magnates, famous free traders with a flare for music (excluding the one and only Bach).

Can you recommend a good book on this interesting-and very original-subject?

Regards.

http://en.wikisource.org/wiki/Page:A...vol_4.djvu/664

GIOVANNINI, a name interesting in musical history solely on account of the part it plays in the discussion concerning the song 'Willst du dein Herz mir schenken,' which for many years was attributed to Sebastian Bach. The song appears in the larger of the two music books of Anna Magdalena Bach, written on two leaves now loose, but evidently once belonging to the volume, in which they occur after p. in. The outer page of the first leaf bears the title ' Aria di Govannini ' (sic) the song itself appearing on the two interior pages. As a copy of the song ' Schlummert ein, ihr matten Augen ' is written on the outer page of the second leaf, it has been considered that the contents of these pages were contemporary with the rest of the book, and Zelter, into whose hands the volume came from C. P. E. Bach, hazarded the conjecture that the song was by Bach himself, that the Italian name was the equivalent of the composer's first name, and that the copy was made partly by Anna Magdalena herself. Zelter's theory became fixed in the public mind as a certainty, since a play by Ernst Leistner and a novel by A. E. Brach- vogel made the composition of the song an incident in the love-story of Bach ; and even at the present day the question can hardly be taken as settled. Forkel refused from the first to believe in its authenticity, judging it from internal evidence, but Dr. W. Rust has adopted Zelter's theory, and has even gone so far as to assert that some of the bass notes are in the composer's autograph. (Bach-Gesellschaft, vol. xx. i. p. 15.) More recently, however, strong evidence has been brought which may be taken as proving the song to be the composition of an actual Giovannini, whose name appears in Ger- ber's Lexicon as that of an Italian violinist and composer who lived chiefly in Berlin from 1740 until his death in 1782. In the same writer's 'Neues Lexicon' (1812-1814) the additional in- formation is given that about 1745 he went to London, and produced, under the pseudonym of the Count of St. Germaine, a pasticcio entitled 'L'Incostanza delusa' in which the airs were much admired. He also published some violin solos under the same name. Dr. Spitta, in his excellent resume* of the question (J. S. Bach, vol. iii. p. 661, etc., English edition), tells us further that songs by Giovannini are included in Graefe's Odensammlung (1741 and 1743) two of which were since published in Lindner's 'Geschichte des deutschen Liedes,' etc. (1871). These are said to show a strong resemblance to the style of Willst du dein Herz mir schenken,' and there seems no longer any reasonable doubt that this Giovannini is the real composer. ^ The external evidence quite admits the possibility of this, as the book may very probably have come into other hands after the death of Anna Magdalena Bach, and so competent a critic as Dr. Spitta sees no reason to endorse Dr. Bust's opinion that some of the notes are in Bach's handwriting; while from internal evidence it might well be thought that no musician who had even a slight acquaintance with Bach's work could ever suspect it to be by him

How true!

http://www.youtube.com/watch?v=uRnA8VaFzD8

Yanni,

If you had bothered to check you would know songs by various composers are named in the two music books of Anna Magdelena Bach. There is no secret about this. And never has been. Others are not named. These books contain various vocal works that are acknowledged to be by various composers and also songs by her husband. Is this difficult ?

In the meantime and purely as a musical 'divertimento' - :cheers2: with some expertise in the invention department -

http://www.youtube.com/watch#!v=SGNx...eature=related

Alone could see the phantom in the skies

(Al Aaraaf, EAPoe)

Your matten augen don't see "no secret about it" because they refuse to read the contents of my quote on "Gioavannini" from Wikisource which (contents) clearly leave the subject (Anna Magdalena's mysterious liaison with "a" count of Saint Germaine +new "missing Koch leaves"*) open for all kinds of interpretations:

...a play by Ernst Leistner and a novel by A. E. Brachvogel made the composition of the song an incident in the lovestory of Bach ; and even at the present day the question can hardly be taken as settled. Forkel refused from the first to believe in its authenticity...

Dr. Spitta sees no reason to endorse Dr. Bust's opinion that some of the notes are in Bach's handwriting; while from internal evidence it might well be thought that no musician who had even a slight acquaintance with Bach's work could ever suspect it to be by him



But your divertimento distracted me from trying to learn more about Vienna's leading role in 18th century shipping and free trade history.

Any good book on the subject?

Thanks.

*Only briefly mentioned in "The puzzle of Beethoven's Kochs" on missing music autographs from Beethoven's opus as well.

Having just included relevant data in my timeline, I just wish to add that the assumption made previously on Bach and Handel being one and the same person is an assumption no more.

JS Bach did not die in Germany, he just returned to London as Handel to die later (1758 or 1759) and be burried in Westminster Abbey (as per Wikipedia). The question 'what was "their" actual identity?' is of great interest.

Here is a short timeline abstract:

Durazzo Marchese*(detto Conte) Giacomo Pier Francesco, Patrizio Genovese, Ministro Residente della Repubblica di Genova a Vienna dal 21-IX-1749 (data di presentazione delle Credenziali) al maggio del 1752,

Pierre-Michel Hennin*obtint le 18 novembre1749 de M. de Puisieulx, ministre des Affaires étrangères, la...(Le Parlement - 1748)

November 1749 Condillac*in Grenoble learns of his appointment to the Berlin Academy of sciences from....Jean D'Alembert: Science and the Enlightenment Από τον/την Thomas L. Hankins....before the official letter of Maupertuis reached him

Rousseau*apporte son soutien à Diderot, emprisonné à la suite de la Lettre sur les aveugles à l’usage de ceux qui voient en 1749.

Maupertuis, the French President of the Academy of Berlin, may have been influential in securing Condillac’s election to the Academy in 1749. Condillac wrote to him on Christmas Day 1749 to express his pleasure and gratitude at being elected to that body. Their correspondence corrects the mistaken later date of Condillac’s election given by Puchesse.6In the letter Condillac said that it was a friend, M. d’Alembert, who had given him the news.

1750

Cocchi La Gismonda (spr.1750 Napoli F)

Giacomo Durazzo* Spouse: Weissen Wolf Ernestine Aloisia Ungnad Von Family Marriage: 17 MAR 1750 Wien, Wien, Austria

In the same year (1750) in which Turgot traced an outline of historical Progress at the Sorbonne, Rousseau*laid before the Academy of Dijon a theory of historical Regress. This Academy had offered a prize for the best essay on the question whether the revival of sciences and arts had contributed to the improvement of morals. The prize was awarded to Rousseau.

Voltaire He left Paris June 15th, and reached, July 10th, Sans-Souci, near Potsdam, the country place of the king, seventeen miles from Berlin. (1750-1753 Voltaire is a guest of Frederic)

JSBach dies 28th July 1750

In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[5]:[63] He died some eight years later in 1759 in London, at the age of 74, with his last attended performance being his own Messiah.More than three thousand mourners attended his funeral, which was given full state honours, and he was buried in Westminster Abbey.[39]:[60]Handel never married, and kept his personal life private. He left a sizable estate at his death, worth £20,000, the bulk of which he bequeathed to a niece in Germany, with additional gifts to his other relations, servants, friends and favourite charities

August 25th, 1750 Collini* is in Berlin with the Barberinas and Voltaire

In two more letters in 1750 to Maupertuis, Condillac refers to d’Alembert, saying in a postscript to that of 12 August from Segrez, “We shall just make one parcel of our letters, M. d’Alembert and I: we are at the home of Monsieur the Marquis d’Argenson where one meets the best society” (Condillac, Oeuvres de Condillac, 2:535). D’Alembert was known to all as the wittiest of guests, so those later writers who have wished to show Condillac as dry, retiring and boring have to explain away their pleasure in each other’s company. Marmontel, speaking of Mme Geoffrin’s salon wrote, “Of that gathering, the gayest, most animated man, the most amusing in his gaiety, was d’Alembert. . . he made one forget in him the philosopher and scholar, to see only the lovable individual” (Marmontel, Mémoires, 1:300).

September 15th, 1750, Gluck*married Maria Anna Pergin

Gluck* Ezio (carn.1750 Praha)

Gioac.Cocchi Siroe (carn.1750 Venezia SGG) , La mascherata (27.12.1750 Venezia SC)

*Aliases of Gioachino Cocchi aka Le comte de Saint Germain.

Yanni,

Obsurantism has its followers. For myself, I much prefer to know (as I do) that Bach's music, that of Handel, and that of Gluck, are completely different. But why let simple facts such as these get in the way of a good story ?

Regards

Robert