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Haec est fides bachiana/handeliana, quam nisi quisque fideliter firmiterque crediderit, salvus esse non poterit. Amen.
On the other hand, Goldman said it continues to see that current U.S. fundamentals are consistent with a gradual dollar depreciation. It cited the country's large current account and fiscal deficits, which will remain an obstacle to strong investment inflows into the United States
:coolgleamA:
The Weathercock, a musical entertainment of two acts,was performed at Covent Garden Theater October 17 (1775):
The Characters
Amyand (Sir Rowland- leading role) .........(by) Mr Mattocks
Etc
Of great 'cultural' interest the play's following verse
Love’s the bane* of female glory,
Friendship’s all we dare bestow
She who would be fam’d in story
Must at distance keep the foe
But the fair who once surrenders
By a gale of passion blown
To the hands of weak defenders
Yields the glory of her own.
*that which causes ruin or woe
see The Hibernian magazine, or, Compendium of entertaining knowledge etc (Dublin) Vol 5,p664
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1775 19 April - The American Revolution begins with the battles of Lexington and Concord
14 June The United States Army is Founded by the Continental Congress. Battle of Bunker and Breeds Hill
8 August The famous 'diner de Metz', when the young marquis de La Fayette was convinced by the guest of honour, the visiting Duke of Gloucester, George III's brother, that the insurgents' revolt in America was in some measure justified.
“Claude Louis” comte de Saint-Germain war service was 27 October 1775 -27 September 1777
27 October 1775 US revolutionary congress authorises banknotes.
31st October Pygmalion is represented with the Comédie-Française, without the consent of Rousseau, and gains a great success, (the first representation in France).
Frédéric à Voltaire, Potsdam, 4 décembre 1775
J'ai participé à la faveur que le roi de France a faite à M. de Saint-Germain. Ce brave officier m'est connu de longtemps; il ne se rendra pas indigne de la place qu'il a obtenue. Il a tout le mérite qu'il faut pour la remplir, et un zèle bien louable pour le bien public; ce qui doit le rendre recommandable à tous les honnêtes gens.
26 December - Battle of Trenton
1776
January 1776 Thomas Paine a proponent of a free USA.
Thomas Dimsdale with his sons opened a banking house in 1776 in Cornhill (See http://heritagearchives.rbs.com/wiki...don,_1759-1891 : Dimsdale Bank takes over 'Amyand, Staples & Mercer at 49 and 50 Cornhill, City of London')
To the lying keeper of the Groveling pile of musicological garbage:
Subject: The 1770 Mozart contact to 'an englishman" while in Italy
-The version of the Allegri Miserere published in London in 1771 is very, very different from the version we know today. And it was definitely NOT made by Mozart either. Nor has Mozart ever been associated with it. The truth is you do not know your subject. Charles Burney in Italy was shadowing the Mozart family on their tour of Italy. (As I will clearly show in the 'Manufacture of Mozart'). Burney was part of the same stooge group that included Venetian occultist G. Ortes and many members of the elites of the Holy Roman Empire (and those of feudal England) directly involved in manufacturing one of the great lies of western culture. The legendary exploits of W.A. Mozart.
(From http://www.online-literature.com/for...+Burney&page=2)
By same man sometime later:
-The Englishman you wish to identify is probably George Nassau Clavering (1738-89) then Resident in Florence. Later made a Baron of the Holy Roman Empire and a vital contact between the British Empire and the Holy Roman Empire in matters of culture, art and music. And, as for the stage managed progress of the secularisation of society, it involved, of course Benjamin Franklin, elites of Britain and of continental Europe). In a huge revival of pagan religion and philosophy which became, eventually, globalism.
(From http://www.online-literature.com/for...t=59067&page=2, post 24)
:party:
Hi YanniQuote:
Originally Posted by yanni
I understand your point of view,
I thank you for your messages.
I'm a musician, I like Mozart's music also.
But I think that what you're quoting here is not at all musicological garbage. I think that this is just the official version of facts. In the Koechel catalogue of Mozart’s works from the very first to the last one, there is no Miserere attributed to Mozart in the section which deals with the work of other authors.
So the musicological version is that of "Musicology" and that of German Musicology also. Mozart didn't copy the Miserere of Allegri. He didn't write any Miserere by Allegri, in fact. It is just a legend :).
Why did you avoid the main issue of my last post...... Robert?
Quote:
Originally Posted by lellyvigni
Hi YanniQuote:
Originally Posted by yanni
mmm ... I see your mind is busy with conspiracies theories.
I'm not Robert. I'm the Marquis of Ligniville. You could call me ... Marquis, if you like :).
Hi there Yanni,
I am certainly not Lellyvigni. In fact if your last posts were less aggressive I would have replied to you by now. They contain nothing new. Except a new kind of insults. Very interesting they are also.
Greetings to Lellyvigini !
I am pleased you are interested in the subject of W.A. Mozart (the real one and not the invention) and that you have studied the subject in some detail. Please tell us what you think about the PDF thread by L. Bianchini which was closed after few people actually managed to read it. It is always good to hear from researchers on this subject. (Yanni has timelines and we may perhaps discuss the actual evidence). He wants to prove that GF Handel and JS Bach are the same person. Which is an amusing subject, you may agree ?
As for Leopold Mozart and the faked exam of 1770 in Bologna this is connected with the claim that Wolfgang wrote a version of the Allegri Miserere in Rome from memory during that same year. Which, as you correctly say, has never been proved. Because it too is another Mozart myth. Since a Mozart version of the Allegri 'Miserere' has never been contained in any published list of Mozart's arrangements. Never. In fact. You are completely correct. Best wishes to you.
Hi Musicology,Quote:
Originally Posted by Musicology
I suppose you are the Robert that Yanni supposed I was. ... :)
Nice to meet. Yes, I see your point.
I know there is this letter, written by Leopold (1770) - is this the document you are refering to?
"He had to appear in the Hall of the Academy at four o`clock in the afternoon. There the Princeps Accademiae and 2 Censores who all three are old Kappelmeisters, put before him, in the presence of all the members, an antiphon taken from an Antiphoner, on which he had to write a 4-part setting in an adjoining room, where he was taken by the Pedellus, who then locked the door after him. Once he had completed it the paper was examined by the Censores and all chapel masters and composers. Then a vote was taken which was done by means of white and black balls. As all the balls were white he was called in and everyone applauded his entry and congratulated him. ...Everyone was amazed he completed the exam so quickly as many people had spent 3 hours on a 3-line Antiphon"
I'm interested in that pdf you're talking about. Where can I download it? Could you provide me with a link.
Thanks to you and Yanni for allowing me to participate in these discussions :).
Dear Marquis,
Thank you for your letter
The brilliant research of Luca Bianchini deserves credit for bringing together all of the documentary evidence in this PDF - the most detailed article on the hoax of 1770 which has so far been published.
http://www.mediafire.com/?y6x6caeo2a84yfj
I hope you find it interesting and informative. It is a small but basic part of the ongoing criticism of the cultural and musical myth that is Mozart. There are more than a dozen similar articles that will shortly become available.
Yanni will no doubt join in congratulating Mr Bianchini for this outstanding work.
Regards
Robert Newman
Hi Musicology,Quote:
Originally Posted by Musicology
thank you for your kind message.
I agree that this Miserere story is just a legend. One of many.
It's a legend also that a person could be 'excommunicated' just for copying it. There is no trace of any such Mozart version in the documents of the Vatican.
It is a legend there was a document threatening excommunication for the copying of the Allegri 'Miserere' because in the archives of the Vatican I did not find any papal bulls or any documents that states there was ever any such threat of excommunication or forbidding it from being copied.It is also a legend that there were no copies of the Allegri Miserere available in Rome in 1770. In fact, as you know, Mr Newman, there were dozens available. Thank you.
I'll download the pdf. Thank you Mr. Musicology :).
I'll give it another try, improving the language of my previous:
To the 'noble' keeper of the Groveling pile of musicological productions, member of C.R.A.P. aka Markiss-my-a**- de Lyingville, ie Robert Newman, author-to-be of 'The Manufacture of Mozart':
Subject: The 1770 Mozart contact to 'an englishman" while in Italy
-The version of the Allegri Miserere published in London in 1771 is very, very different from the version we know today. And it was definitely NOT made by Mozart either. Nor has Mozart ever been associated with it. The truth is you do not know your subject. Charles Burney in Italy was shadowing the Mozart family on their tour of Italy. (As I will clearly show in the 'Manufacture of Mozart'). Burney was part of the same stooge group that included Venetian occultist G. Ortes and many members of the elites of the Holy Roman Empire (and those of feudal England) directly involved in manufacturing one of the great lies of western culture. The legendary exploits of W.A. Mozart.
(From http://www.online-literature.com/for...+Burney&page=2)
By same man sometime later:
-The Englishman you wish to identify is probably George Nassau Clavering (1738-89) then Resident in Florence. Later made a Baron of the Holy Roman Empire and a vital contact between the British Empire and the Holy Roman Empire in matters of culture, art and music. And, as for the stage managed progress of the secularisation of society, it involved, of course Benjamin Franklin, elites of Britain and of continental Europe). In a huge revival of pagan religion and philosophy which became, eventually, globalism.
(From http://www.online-literature.com/for...t=59067&page=2, post 24)
Is that better?
:party:
Yanni,
I post as 'Musicology'. You have made a mistake. Try again.
'Lellyvigni' is the Marquis of Ligniville. I do not know this man. But at least I have replied to him. He obviously knows a great deal about this subject.
Marquis or not, you still have to provide an explanation for your change of tune re the identity of Mozart's 1770 'englishman'.
:yesnod:
Quote:
Originally Posted by Musicology
Yanni,
Do you correct your mistakes ? I am not the Marquis. I have already told you this, twice. I have no idea what the Marquis thinks about this. He is not me. I am not him. Is this simple enough or shall I write it again ???
The Englishman you have asked about is NOT identified. Is he ? That means it could be one of several Englishmen who are known to have been involved with Mozart's career. An aristocrat, for sure. And there are numerous candidates. What is the problem with saying so ? Has this not helped you ? You may consider the question yourself and you may actually post some real information for once. I have now given two candidates for you to consider because both were involved in Italy with the career of Mozart. And both were Englishmen. That is better than your posts which provide nothing on this question. Do they ? When the composer Josef Mysliveveck died in 1781 in Rome his funeral expenses were paid for by..... ''an unidentified Englishman''. That means the exact English person is not clear. Doesn't it ? Any suggestions ? So I have not 'changed my tune'. I have provided not one but two suggestions. Either are possible. Which fact you now complain about. Shall I stir your coffee when you put some sugar in it ? May I drink it for you also ? LOL !
Is this message clear enough ?
Quote:
Originally Posted by yanni
In other words, Robert, when relaxed, earlier on, you were quite sure, having researched the matter in detail, that...
Charles Burney in Italy was shadowing the Mozart family on their tour of Italy. (As I will clearly show in the 'Manufacture of Mozart').
..but when under pressure (from 'his excellency general Koch' who took you by surprise), the englishman changes to 'propably Clavering-Cowper' (whom the Mozarts had no problem naming earlier on in Florence):
The Englishman you wish to identify is probably George Nassau Clavering (1738-89) then Resident in Florence.
Two distinctly different tunes.
Quote:
Originally Posted by Musicology
Yanni,
Stop ! You are totally confused. There is not one but various options. You now have two. Both are possibles. Either may be the one.
Am I going too fast ?
:nopity:
Hi Yanni,Quote:
Originally Posted by yanni
Most Reverend Innay,
Celebrated Knight of the Golden Spur.
You are too modest to confirm that. Nevetheless I can guess
how graceful your mannners are.
I see thou thinkest I am Robert
If I would think thou art Robert would thou be ?
Yanni, why do you always hide such a divine attitude
Under such a rude, impolite, insolent appearance ?
If I would be Ligniville
as I am - Eugene
and also François
Marquis de la Maison de Loraine
How many Ligniville
would there be ?
(Sonnnet translated from Languedoc)
Innay (nom de guerre Yanni). I' sorry :sad: you are lost in the puzzle of the so-called 'Yanni Variations'. Hope you'll find a hint and a solution to those conspiracy theories which persecute your living days.
I most humbly kiss your hands and am
Most Gracious Knight
and Lord
Most submissive and obedient
Devoted and grateful
Servant
Marquis de Ligniville
Hi Robert,Quote:
Originally Posted by Musicology
Thank you very much for the link. I've just downloaded the file. I'm reading the pdf. It seems to be interesting :).
Compliments for your, aesthetically unique, verse, markiss-my-a**!
Dear Marquis,
I hope you will forgive the crudities of Yanni's more recent posts. These are side effects of him relying too heavily on a musical diet of timelines and multiple personalities. (He is nice when you get to know him. Honest. Although he does lapse in to the idea that J.S. Bach and G. F. Handel are the same man).
A small example of Bach.
BWV 1053/1
http://www.youtube.com/watch?v=EJ27A...eature=related
Adieu, Yanni, teller of 1,000 Arabian Nights :).Quote:
Originally Posted by yanni
Markiss-your-face Eugène François De Ligniville
Hi RobertQuote:
Originally Posted by Musicology
I thank you. I've read the pdf. I'll open a new thread, so we do not disturb Yanni :sleep:, and we could continue with Mozart :).
Lellyvigni,
I am glad you've read the PDF. Yes, please open a new thread and I will be happy to share with you on Mozart.
Regards
Quote:
Originally Posted by lellyvigni
Returning the compliments:
There were two "padre Martinis" in Italy, 1770, both musicologists and both involved with the Mozarts and their mysterious "english friend" (or friends, if they were two as you say).
Can you name them and trace their whereabouts with regard to the Mozarts, Burney and/or Cowper, and Herr Misliwetschek as well?
Did the Mozarts visit Venice in August?
Ta-ta!
PS While at it, you may also try solving the puzzle of Berezovsky's Symphony in C, composed around 1770-72. October 1773 Berezovsky returned to St Petersburg with 'youknowho'!
Quote:
Originally Posted by Musicology
27 June 1770 Rome: LEOPOLD MOZART TO HIS WIFE IN SALZBURG We arrived here in Rome at 8 o`clock yesterday evening by mail coach, taking 27 hours for a journey that took 4 and a half days by vitturino [1] . But we really flew. Count Kaunitz didn`t arrive until today: I thought it would be better if we travelled on our own as it`s not always possible to find enough horses at the post-stages, in which case we`d have had the honour of spending half a day at the post-stage waiting for the horses to return, all the more so in that I knew that His Excellency General Koch was leaving for Rome with 5 horses and a certain Englishman with 7. And so we left Naples on our own and I told everyone we met that I was the steward of the imperial ambassador, because the stewards of such gentlemen are held in high regard hereabouts. This not only made my journey safer, but I was also given good horses and prompt service, while in Rome I didn`t need to go to the Customs House to have our things examined. Instead I was received at the gate with a deep bow and simply told to drive on… http://letters.mozartways.com
7 juillet 1770 Abbé Galliani (from Naples?) à Madame d'Epinay: Je crois vous avoir écrit que ce petit Mozart est ici, et qu'il est moins miracle, quoi qu'il soit toujours le meme miracle, mais il ne sera jamais qu'un miracle. Et c'est tout… Adieu encore. Je vous embrasse, en dépit du scandale de Panurge et de tous les envieux de notre tendre correspondance .
Here is, then, a summary list of crucial questions for any Mozart scholars to answer re his 1770 Bologna exams etc:
1.What was 'His Excellency General Koch' doing in Naples and Rome, alongside Kaunitz, at the time?
2,Who was he?
3.How did he relate to the Mozarts?
4.Who was the 'certain engishman'?
5.How do they all link to Wolfgang-Amadeus's 'padre Martini' and, in particular, to 'abbe Galiani'? Who were these expert musiciens-opera composers?
6.There were two "padre Martinis"* in Italy, 1770, both musicologists and both involved with the Mozarts and their mysterious "english friend". Can you name them and trace their whereabouts with regard to the Mozarts, Burney and/or Cowper, and Herr Misliwetschek** as well?
7.Did the Mozarts visit Venice in August***?
8.PS While at it, you may also try solving the puzzle of Berezovsky's Symphony in C, composed around 1770-72. October 1773 Berezovsky returned to St Petersburg with 'youknowho'!
*Not included in the two 'padre Martinis' is another 'great unknown' composer,'Giovanni Battista Sammartini' whom the Mozarts also met in Italy, 1770. (Saint Martin's miracles, heh-heh)
**R.Newman:'It is surely a remarkable coincidence that Mozart, commissioned to write ‘Betulia liberata’ for Padua was unable to do so, and yet the very same piece was composed by Josef Myslivececk in Padua, in that very same year of 1771, now lost ! '
***see the 'August blank' at http://www.mozartproject.org/biography/ch_66_70.html
This thread is hereby terminated. Musicologists with a flare for history are advised to look at yourstruly's relative posts at http://www.online-literature.com/for...75#post1009575 providing the answers to the previous questions and more.
Thank you for your attention!
This is a Mozart thread. Have you noticed this yet ?
Quote:
Originally Posted by yanni