Yes, ofcourse, Your Grace, that's an exquisitely ornamented nut case.
Care to open it and tell us when Frederick De Nicolay was appointed Queen Charlotte's backstairs page?
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Yes, ofcourse, Your Grace, that's an exquisitely ornamented nut case.
Care to open it and tell us when Frederick De Nicolay was appointed Queen Charlotte's backstairs page?
Why should I be interested to know when Frederic de Nicolay was appointed the backstairs page of Queen Charlotte ? Will the answer relate to what I have just written, or is this another example of Yannian obscurantism ? :rolleyes5:
Royal Music Library archivist records that -Quote:
Originally Posted by yanni
‘’From a childhood in Saxe-Gotha, Nicolay had emigrated to England and by 1751 had entered the Royal Household as Assistant to the Dancing Master to the Prince of Wales (the future George III).
Ten years later (1761) he became Page of the Backstairs to Queen Charlotte, and in due course was elevated to the position of considerable responsibility of Principal Page. He associated with the members of the Queen's private band, and met both Mozart and Haydn. It is clear that Nicolay's duties extended to upkeep of the Queen's Music Library. The ascription 'This Volume belongs to the Queen' is written in his hand in more than fifty of the books in the Royal Music Library, and throughout the Handel autographs there are interleaved sheets on which Nicolay has meticulously noted omissions, mixed-up leaves and other points’’
A will still exists for Frederick Nicolay (1728-1809) 'of Saint James's Palace , Middlesex Dated 27 May 1809' and strangely there is another (again for a man named Frederick Nicolay), ‘of His Majesty's Treasury of Whitehall‘ of Middlesex dated 7th March 1818.
It seems clear young Nicolay came to England with his father and other relatives from Germany. (The surname was not uncommon in England at this time).
Most of his work with Handel manuscripts seems to date from after 1785.
When the family arrived and under what circumstances is not known. It must have occurred before 1750 and there were various families of that name in London by that date.
Regards
///
And here (it seems) is Nicolay's background -
Gaspard De Nicolay was a member of the Court of Frederick III, Duke of Saxe-Gotha-Altenburg. He, his wife Joanna Sapphira and their two sons arrived in England from the Duchy of Saxe-Gotha (now Thuringia, Germany) in 1736. Gaspard was Attendant and Page to Princess Augusta of Saxe-Gotha and the Nicolay family accompanied her to London, where she was to marry Frederick, Prince of Wales. Gaspard became Page of the Presence to Princess Augusta and Prince Frederick from 1736 until 1751 and then Page of the Backstairs from 1751 until 1772. Gaspard and Sapphira's two sons were Frederick De Nicolay (elder) and Christian Frederick De Nicolay (younger).
Frederick was introduced to King George III, with whom he became a very great favourite; so much so that when his affianced bride Princess Charlotte of Mecklenburg-Strelitz was to be married to the King, his Majesty sent Frederick De Nicolay to attend his future Queen. He remained ever after the confidential friend of both their Majesties, as well as of their family, the Princes and Princesses and lived in St. James's Palace. The affection with which the King and Queen held for Frederick was demonstrated in his appointments as a violinist in the Queen's Chamber Band, keeper of the Queens Music Library and the Queen's Principle Page. Frederick married Albinia Lattman and had 13 children; only three of whom lived to maturity. He died at St. James's Palace on the 16th May 1809.
Frederick's three sons were: George Louisa, named after the King and Queen of Denmark who were his sponsors, Frederick and William. Reverend George Louisa Nicolay became Rector of St Michael Paternoster Royal in the City of London and Chaplain to Prince Frederick, Duke of York and Albany. Frederick became Chief Clerk to the British Treasury . Lieutenant-General Sir William Nicolay K.C.H., C.B. (B.1771) became a distinguished army officer in The Royal Artillery, Royal Staff Corps, Royal Engineers and the King's German Legion. He was present at a number of significant battles and was decorated for his exemplary command of 5 companies of the Royal Staff Corps at the Battle of Waterloo. Sir William went on to become Governor of St Kitts, Mauritius & Dominica and was made a Knight Commander of the Royal Guelphic Order (KCH). He died at Oriel Lodge, Cheltenham, England on the 3rd May 1842.
The younger son of Gaspard De Nicolay, Christian Frederick, was brought up in the medical profession. He was private Physician to the Princess Dowager of Wales Princess Augusta of Saxe-Gotha, mother of King George III on whom (with Sir Clifton Wintringham and Dr Pringle) he was in constant attendance for two years. They alone were in the room with H.R.H. at her decease. He also attended her son Prince Frederick of Great Britain. Christian married Miss Turner and had three sons and two daughters, of whom only two survived: Augusta Georgiana Louisa Nicolay; God Daughter to King George IV and also sponsored by the then Queen Consort of Prussia Louise of Mecklenburg-Strelitz and Thomas Frederick Nicolay who became a Lieutenant-Colonel, Staff Surgeon to His Majesty's Forces and Deputy Inspector of Hospitals.
Only Thomas Frederick fathered children: Christian William, Frederick Lewis and Thomas Frederick, all of whom were in the service of the East India Company. Lt-Colonel Sir Frederick Lewis was killed at Ootacamund, India in 1855 whilst commanding the Neilgherries of the 29th Mechanised Native Infantry and Captain Thomas Frederick of the 1st Madras European Fusiliers was killed in January 1853 at the storming of the Pegu stockade during the Second Anglo-Burmese War .Lieutenant Christian William was a member of the 28th Madras Native Infantry (refer to: Madras Army) before being pensioned through Lord Clive's Fund. He died in Brighton in 1848.
///
Yes of course, Your Grace, that's what the Royal Music records and the Nicolays themselves claim but as the Royal wedding took place September 1761 and there has been a mixup between "a" colonel Graeme and a Frederic de Nicolay, both entrusted to escort the bride to the groom earlier on in the year, I was hoping that a Deus ex machina would appear to advise You of the exact date of backstairs appointment of master Frederick, saving You from another of those misfortunes that seem to haunt You lately.
Must be those evil obscurantist Khazar powers disguised as Popes of Rome and Cardinals of Venice, all hiding in the detail.
Good night!
A very important period really, 1761-1762,for our kleine nacht musik:
A JCBach arrives in London, you see, to replace Gioachino Cocchi who somehow vanishes everafter in obscurity, never-ever to assume authorship of or conduct another opera*.
This JCBach-highly appraised by the Royal Couple and their Music Librarian Frederick de Nicolay, Handel's editor in London who is blood related to Berlin/Leipzig etc Frederick Nicolai publisher**, the latter a close friend of the "Russian" Monrepos Nicolay-seems to be totally ignorant throughout his life*** of his father's JSBach own music style or his existence even and is futhermore a Roman Catholic.
No, you'll have to do better than that, brother Robert, cantor of the all white fraternity, since you are the one who wave the JSBach banner allover: Read Kassler's book on JSBach's introduction to the british public, find the requested date, put it in your timeline- if you have any-and come again!
*not quite like Gluck's "never again in London after 1746" however: Gluck reformed himself musically and survived thereafter in central Europe.
**who, as Berlin's biggest publisher as from 1755 was following Cocceji's instructions/laws on cencorship to the letter and was certainly aware of Handel/JSBach's Leipzig existence or relative "London" abscence.
***Equally so ignorant of any JSBach is the Berlin publisher Nicolai.
Yanni,
You asked about Nicolay so I have now provided 3 posts on Nicolay including detailed information on his family, his arrival in England from Germany, and the date when he was appointed to the post (including others). I might further add that Queen Charlotte married George (3rd) on 8th September 1761. How is that for obscurantism Yanni ?
Antonio Vivaldi
RV 569
Allegro
http://www.youtube.com/watch?v=S2Pyd...eature=related
You are trying to find a needle in a haystack but it seems you don't know what it looks like.
JC Bach (that glorious convert to the church of Rome and therefore the receiver of a bag containing 30 pieces of silver from the British elites) was only one of a vast production line established from around the time of G.F. Handel, joined later by the careers of men such as Andrea Luchesi, this managed during Mozart's own time by musical charlatans as Abbe G Vogler, overseen by numerous performing seals such as the Cocchis etc. (dating back to the Council of Trent), even managed by Padre Martini of Bologna and by so many others. Mozart's career was stage managed even before the time of his birth. (It had already become standard procedure, you understand ?). You might also examine the careers of numerous others such as one Bohuslav Cernohorsy (friend and musical mentor of a certain 'great' operatic composer, Herr Gluck - that genius so conveniently born on the estate of Prince Lobkowitz in Bohemia), the wayward career of a certain Giuseppe Tartini (supplier of a violin treatise manipulated and published in the name of a certain 4th violinist and friend of Venice friendly and of papally approved Fugger bankers and merchants in Augsburg, (formerly collectors of indulgences during Martin Luther's time), appearing in print by one Leopold Mozart, in 1756 and published courtesy of the Duc D'Orleans in Paris), also the careers of Baldasarre Galuppi, Giordano Riccati, Hasse (that German operatic giant who lived for years in Venice and correspondent of that strange man, Abbe G. Ortes) and so many others of the Venetian/Jesuit connection which was basically transplanted to London and Paris. London became the 'New Venice'. This achieved with the assistance of numerous cardinals and potentates of Rome, the usual Venetian occultists (with Jesuit intermediaries) and the creative manufacturing of musical history as we know it. (No expense has been spared in the writing of musical 'history' !). With the usual hypocrisy supplied by Romanist elites of the British Empire. As for Khazar input, and the Akkadian Society (oops, Arcadian Society) we must overlook such things AND any Romanist manipulation of our subject. Since both were in union with each other at this time. The subject must be airbrushed out of official versions. Let us focus on the 'genius' of one iconic W.A. Mozart and ignore, completely, contexts or anything of his own century or musical time. 3,000 composers of the 18th century posthumously agree that Mozart was a 'great' composer and a 'genius' - terms we never define. Let us studiously avoid all contexts because these too are irrelevant. Since we have learned to be content to worship our icons on the manufactured musical Easter Island. Overseen by the usual soft spoken priests of pseudo-musicology.
JS Bach
Concerto
BWV 1052
http://www.youtube.com/watch?v=uz4gY...eature=related
Quote:
Originally Posted by yanni
You mean you really don't have a timeline and/or Mr Kassler's book on JSBach and don't care to explain the Nicolay-Graeme, Windsor-music-archive royal blunder?
Holy White Moses, what an insult to musicology you are, Sir!
PS Wonderfull palaces the Nicolays owned in France. What a great and very old french family(13th century and earlier) they were! Enobled May 19, 1815, by King Louis XVIII, they aquired both their palaces Chateau de Lude and Château de Courances only around 1760-1770's and kept them both long after their enoblement. Their german cousins (Baron Ludwig Heinrich von Nicolai, Private tutor of Emperor Paul I of Russia, and his son Baron Paul Von Nicolay - Russia's State Council and the Tsarist Ambassador to London, Copenhagen and Stockholm) did not do so well in real estate, apparently. They only managed to aquire their Mon Repos (Vyborg) dacha round about 1788 to keep it until 1943. If not mistaken, I remember reading somewhere they were contemplating to also aquire a small property in Yalta at the time but changed their mind for some reason or other.
I hope my posts on the Nicolays (provided in answer to your repeated request for information on the same) have been of some help. Which was my objective. Further supported by my last post (above). They have been, haven't they ???
In the meantime, some music from one of those marvellous musical coincidences - from Herr Mozart's next door neighbour in Vienna for some years, a certain J.B. Vanhal (1739-1813) -
Symphony in D Major
1st Movement
c.1779/80
http://www.youtube.com/watch?v=oVYZj...eature=related
Quick ! Where are the musical censors when you need them ?? LOL !!!
Any similarity between this first movement of a symphony by the Bohemian composer Paul Wranitsky and the overture to a later opera named 'Le Nozze di Figaro' of 1786 (the latter attributed to a certain genius from Salzburg of 2 years later) are of course purely coincidental. It is also a sheer coincidence the same Paul Wranitsky became the legal representative of a certain Constanze nee Weber (later widow of the same Salzburg genius). And numerous similarities between the music of the Wranitsky opera 'Oberon' and the later 'Magic Flute' of the Salzburg genius (both works staged at the same venue within months of each other in the same city of Vienna and only one of them ever recorded despite the huge fame of 'Oberon' at the time) is also a coincidence.Quote:
Originally Posted by yanni
Pavel Vranicky (Wranitsky) (1756-1808)
Symphony in D Major Op. 36
1st Movement
c. 1784
http://www.youtube.com/watch?v=Ecn_c...eature=related
Any musicology which is offended by music deserves to be !!!
Don't want to face up to the 1761-2 challenge? I understand!
Here is Gluck-Calzabiggi-Durazzo's Don Juan (October 1761) and Orfeo and Euridice, twelve months later.
http://www.youtube.com/watch?v=uQrwAZa3N9U
http://www.youtube.com/watch?v=bTx75...eature=related
A descend to hell guide is included!
Quote:
Originally Posted by Musicology
J.B. Vanhal
Missa Pastoralis
Kyrie
http://www.youtube.com/watch?v=VdlFV...eature=related
J.B Vanhal
Missa Pastoralis
Benedictus
http://www.youtube.com/watch?v=tSDDe...eature=related
And the relevance of this post is precisely what, Yanni ?? A literary 'divertimento a la confusione' ?
Quote:
Originally Posted by yanni
Ofcourse not, Robert, it's a call for you to recite for us your "Mozart was manufactured" , "There were two Nissens", "The one and only Bach was a different man than Handel" and "Bad Khazar-Good White Jew" cantatas.
Will you??
(the date) ...is only to be found online in page 107 of Michael Kassler's "The English Bach awakening: knowledge of J.S. Bach and his music in England":Quote:
Originally Posted by Musicology
Frederic de Nicolay was appointed page of the backstairs to Queen Charlotte on 20th July 1762!!
Care in the detail is equally important to any art, the one of finding the "errors" of professional history writers and archivist-interpreters included. Such is the case with the following "family site", caring not for the detail but to "name" their relative "sources" of "misunderstanding" nevertheless:
Extract from 'Sketch of the Nicolay Family in England - Part 1' By Augusta Georgiana Louisa Nicolay)****
By the second half of the 18th century, the Royal Music Library had expanded to the extent of requiring somebody to maintain it, a role that was filled in the person of Frederick de Nicolay. From a childhood in Saxe-Gotha, Nicolay had emigrated to England and by 1751 had entered the Royal Household as Assistant to the Dancing Master to the Prince of Wales (the future George III).
Ten years later he became Page of the Backstairs to Queen Charlotte, and in due course was elevated to the position of considerable responsibility of Principal Page. He associated with the members of the Queen's private band, and met both Mozart and Haydn. It is clear that Nicolay's duties extended to upkeep of the Queen's Music Library. The ascription 'This Volume belongs to the Queen' is written in his hand in more than fifty of the books in the Royal Music Library, and throughout the Handel autographs there are interleaved sheets on which Nicolay has meticulously noted omissions, mixed-up leaves and other points.
(source: Royal Music Library - Frederick Nicolay (1728-1809) by Dr Nicolas Bell, The British Library
Frederick was introduced to King George III, with whom he became a very great favourite; so much so that when his affianced bride Princess Charlotte of Mecklenburg-Strelitz was to be married to the King, his Majesty sent Frederick Nicolay over to attend his future Queen. He remained ever after the confidential friend of both their Majesties, as well as of their family. He lived in St. James's Palace, London.
http://lyons.familytreeguide.com/get...b6cb89585846ab
As above written:
A very important period really, 1761-1762:
A JCBach arrives in London...to replace Gioachino Cocchi who somehow vanishes everafter in obscurity, never-ever to assume authorship of or conduct another opera*.
This JCBach-highly appraised by the Royal Couple and their Music Librarian Frederick de Nicolay, Handel's editor in London who is blood related to Berlin/Leipzig etc Frederick Nicolai publisher**, the latter a close friend of the "Russian" Monrepos Nicolay-seems to be totally ignorant throughout his life*** of his father's JSBach own music style or his existence even and is futhermore a Roman Catholic.
*not quite like Gluck's "never again in London after 1746" however: Gluck reformed himself musically and survived thereafter in central Europe.
**who, as Berlin's biggest publisher as from 1755 was following Cocceji's instructions/laws on cencorship to the letter and was certainly aware of Handel/JSBach's Leipzig existence or relative "London" abscence.
***Equally so ignorant of any JSBach is the Berlin publisher Nicolai.
****Augusta Georgiana Nicolay was pensioned from the House of Commons 1813 (House of Commons papers, Volume 6). Terrible year for all truthseeking ladies!
How important the period was and why the exact date would never have been disclosed but for Mr Kassler will be examined next.
PS Of note is the Berlin Publisher not recognising The Mon Repos Baron as his bood relative in their correspondence. Another negligent editor of history or, most propably, a not well informed on history, later Nicolay genealogist.
Yanni has filled pages of posts on this thread and when we ask what he is saying he doesn't answer, saying he wishes me to ''recite how the musical career of Mozart was manufactured'' ! Although his last dozen posts do not mention Mozart and the name of this thread is (just in case he forgot) 'The puzzle of the so-called Bach variations' !!!!
You see, Yanni, you have collected things on the surface, connected them with a timeline, have added twenty aliases, and that is the sum total of it.
If you wish to speak about Mozart why has it taken dozens of posts on subjects such as Nicolay at the court of Queen Charlotte ? Does this really relate to the subject of the thread ? How ? You do not tell us. You are a very confusing man. I have replied to your questions on the Nicolay subject. At length.
As for Mozart, examine my post of yesterday and please do us a favour - examine (i.e. please study in detail) what I actually wrote. Post 228 is a good place to start. Nothing is stable without a foundation, a context. It might give you what you lack. Context. I cannot do more unless you have specific questions. Except offer some music -
J.S. Bach
Cantata 151
Aria
Süsser Trost, mein Jesus kömmt
http://www.youtube.com/watch?v=vSRiPWXWvPw
As for your typically obscurantist reference to Khazars and 'good white Jews', (which is really born of ignorance) you owe yourself and this thread some basic reading - it may help humanity. And yourself.
http://sites.google.com/a/jewishjesuits.com/www/
Thank You
Frederic de Nicolay was appointed Page of the Backstairs to Queen Charlotte on 20th July 1762. Great. And the relevance of this, Yanni, is what, precisely ?Quote:
Originally Posted by yanni
You should tell us, exactly, what you wish to prove/demonstrate/confirm, because unless you do so we go round and round in circles. The management of music involved the characters you are trying to study. But the history of music is very different.
Quote:
Originally Posted by yanni
''And others had trial of cruel mockings and scourgings, yea, moreover of bonds and imprisonment. They were stoned, they were sawn asunder, were tempted, were slain with the sword: they wandered about in sheepskins and goatskins; being destitute, afflicted, tormented. (Of whom the world was not worthy) - they wandered in deserts, and in mountains, and in dens and caves of the earth.
And these all, having obtained a good report through faith, received not the promise. God having provided some better thing for us, that they without us should not be made perfect''.
//
'Music ! ', he said, 'but not of any ordinary kind'
Cantata 104
Chorus
http://www.youtube.com/watch?v=7gcn6...eature=related
Yanni says of G. Cocchi that he musically disappears in1762 -
Here is some of the reality -
SOME MUSICAL WORKS BY G. COCCHI FROM 1762
G. Cocchi (with Galuppi and Ciampi) publish through a musical pastiche ‘Siampi’ in 1762
G. Cocchi publishes songs by JC Bach by and himself - London - 1763 - Printed in London by Walsh
G. Cocchi published a pasticcio on ‘La Clemeza di Tito’ - 1765 - Printed in London by Walsh
G. Cocchi, Gioacchino.: Duettini 12 per canto..London : Printed by Welcker in London, c. 1770.
According to the music library of the Incurabili in Venice in 1784 G. Cocchi was still writing music there for public concerts.
G. Cocchi composed a Requiem on the death of his wife in 1786
G. Cocchi composed a Dixit Dominus in 1788.
Etc etc etc etc etc
//
Also of great relative interest for last posts of this thread (on JSBach and Handel being one and the same) is another book by Michael Kassler titled "A.F.C. Kollmann's Quarterly musical register (1812): an annotated edition" tracing the introduction in London of the notion of a JSBach composer. It just so happened that this very same year Gerber spilled the beans on a Saint Germain/Giovannini writing his songs in Anna Magdalena Bach's Notebook(see post 6 of this thread) in his Lexicon. The next year, 1813, the first "Nicolay family" genealogist was given a pension by the House of Commons.
That's how JSBach came first to life!
__________________________________________________ __________________________________________________ __________________________________________________ ___________________________
Small interlude, courtesy of the music industry:
By my new "distant cousin", Franz Nicolay:
http://www.youtube.com/watch?v=yUMq7anqcd0
The introduction into London in 1812 of 'the notion of a JS Bach composer' ? That's so funny !
Here is some reality. Many of JS Bach's works for keyboard were published in Bach's own lifetime, in Germany, by the composer himself. Don't you know this ? For example, entire volumes under the title Clavier-Übung (Keyboard Practice) I-IV. The first volume was published in 1731 (which, I estimate, is 81 years before 1812 ! ), while the last was published a decade later in 1741 (which is 71 years before 1812). These volumes are an open imitation of two volumes published by Bach's Leipzig predecessor Johann Kuhnau under the same title. (Kuhnau used arrayed keys to structure his exercises, a model Bach also used through the Clavier-Übung volumes). The Well-Tempered Clavier, (48 Preludes and Fugues) however, was not published until half a century after Bach's death - around 1800 - although they were widely in circulation before that date in manuscript form. Several other works were published during Bach's lifetime including cantatas.
So much for the 'notion of JS Bach' the composer !
What you really mean is the Romanised British (whose elites were always and inevitably the ambassadors of the British Empire and had been from the start of that Empire) had literally ignored Bach's music up until around 1812 in England. As had the publishing world also. How is that for control ? Aided and abetted (as already said) by the secret fact the Hanoverian kings were Romanists themselves (though not officially). These are plain facts. George 1, 2 and 3 are typical examples. They are more than plain facts. They are history.
Now you can appreciate who was really controlling the music scene in London from even before the time of Bach and Handel. As indicated repeatedly here on this forum.
Concerto
BWV 1053/1
http://www.youtube.com/watch?v=EJ27A...eature=related
Which keyboard works of G.F. Handel (partitas, sonatas, concertos etc) would you rate alongside those published by J.S. Bach ? During his lifetime, that is ?Quote:
Originally Posted by yanni
He could not very well use his "Johann Sebastian Koch" identity, linking him to the Cocceji-Kochs, in Leipzig, Koethen or London, so he used "Bach" in Saxony and Handel in London. His Opus 1 was announced much earlier but was delayed some five years because of his "Handel" commitments and the intermediate death of King George 1727. July 1730 he is corresponding with Dr Antonio Cocchi-Cocceji-Koch (on Senesino) via Francis Colman.
The rest of your post is rubbish and there'll be no more answers to such next.
Quote:
Originally Posted by Musicology
You are quite right Yanni. We cannot continue on such an embarrasing thread for much longer.
Handel (the Manchurian candidate for celebrity in Rome and Venice), who appeared there as an unknown composer from Germany after obtaining 3 operas he never wrote, was feted there by the British nobility of the British Empire and by a string of Roman cardinals. He, Yanni says, is one and the same person as Johann Sebastian Bach. This, says Yanni, is a fact. And I must accept it. Although, on issue after issue it is only the latest fantasy of the multiple personality syndrome invented for composers by Yanni.
The keyboard music of Handel (and I know it quite well) is not like that of JS Bach. It is very different. It is more different than Italian cheese is from fish and chips. It is so different you are invited to post some of Handel's keyboard music here, or his concertos, or any other style of music, so that we can make a fair comparison. But you decline the invitation.
The rest of your post is not rubbish. It is more of the same Yanni.
Here are two works. One by Handel and the other by Bach. They are not the same man.
Handel
http://www.youtube.com/watch?v=gu9Wz...eature=related
Bach
http://www.youtube.com/watch?v=QwEzp...eature=related
Case Closed
(This post confirms EAPoe's 1840's allegations that Saint Germain was "educated" in London-The Visionary).
The following extract is by a well promoted author who helped keep Saint Germain's myth intact until now. It's used exclusively as a link to the reality of the following period as per timeline furtherdown which gives just one of the reasons of creating and funding........
.... the myth.
Like an orchestra:
Meanwhile our philosopher worked on with those whom he was able to help and teach
in various ways. In 1760 we find him set by Louic XV. To the Hague on a political
mission: the circumstances are variously told by different writers. In April, 1760, we find
M. de St. Germain passing through East Friesland to England.22 Next, in The London
Chronicle of June 3rd, 1760, we have a long account of a “mysterious foreigner,” who
had just arrived on England’s shores. It is also said by one writer that he was well
received at Court, and may papers of the period mention him as a “person of note” to
whom marked attention was paid.²(² Gasette of the Netherlands. Jan. 12th, 1761. The
Hague, Jan. 2nd. “Letters from Paris state that when starting for this country, to which he
came without asking permission of the King, M. de St. Germain returned his Red Ribbon:
but it is practically certain that he has an understanding with the King of Denmark. “The
3rd. “The so-called Count of St. Germain is an incomprehensible man of whom nothing
is known; neither his name nor his origin, nor his position; he has an income, no one
knows from whence it is derived; acquaintances, no one knows where he made them;
entry into the Cabinets of Princes without being acknowledged by them!”)
In the British Museum ther are pieces of music composed by the Comte de St. Germain
on both his visits, for they are dated 1745 and 1760. It was said everywhere, by enemies
as well as by friends, that he was a splendid violinist; he “played like an orchestra.”
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
And now to reality:Jan 1761 to Jul 1763 Timeline (abbreviated).
?.2.1761 A temporary cease fire agreement between Prussia and Russia is extended to May 27.
7.2.61 Cocchi’s*Tito Manlio premiers in London (KT)
10.2.61 Pierre Michel Hennin*is in Warsaw (Hennin a Saint Foix Varsovie, 10th Feb 1761)
18.2.61 François-André Philidor’s*opera Le Jardinier et son seigneur premiers in Paris
In February 1761 Ranieri Calzabigi visits Vienna. (His libretto for Orfeo ed Euridice, partly based on the theories and practices of such literary men as D. Diderot, F.M. von Grimm* Rousseau* and Voltaire, was enthusiastically greeted by Gluck’s friends...)
9.5.61. Caspar Anton von Belderbusch*appointed president of Kurköln (Bonn-Mannheim, roman catholic, heavily influenced by France eversince 1715).
29.5.61 Baron Alexander Stroganov* becomes a Count of the Holy Roman Empire.,
16.6.61 Le chevalier de Chasot à Frédéric, Lübeck.Le comte de Saint-Germain est passé par ici pour aller commander l'armée danoise;
17.7.61 Sterlitz: "A" Colonel Graeme(Grimm*) writes to "Mr Mitchell ,upon Lord Harcourt's journey to demand the hand of the Princess of Mechlenburg-Sterlitz"
(Wikipedia: ....when his affianced bride Princess Charlotte of Mecklenburg-Strelitz was to be married to the King, his Majesty sent Frederick De Nicolay*to attend his future Queen.
23.7.61 Giessmannsdorf, Frederick of Prussia writes to J.H.Cocceji*
September, 1761 "One of the two little germans in Diderot’s circle in Paris was Ludwig Heinrich Nicolay*"
13.10.61 Cocchi’s Alessandor nell'Indie premiered in London( KT)
17.10.61 Calzabiggi-Durazzo*-Gluck's* Don Juan Don Juan (ballet), Vienna.
9.12.61 Gluck* Le Cadi dupe, Wien ( B)
5.1.62 Frederic "The great event which snatched him from destruction was the death of the Russian empress"
?.1.62: Cocchi is in London directing ‘Tolomeo” a “new serious opera”
28.1.62. Monsieur de La Dixmerie* is in Paris ("...(22), coopérateur de l’abbé de La Porte, passe aussi au Mercure pour la partie des contes...")
March 23 to April 5th 62 French Record Office of Foreign Affairs correspondence between the Duc de Choiseul and Comte d’Affy on a Saint-Germain who “is again in Holland under assumed names, that he has purchased an estate in Guelders and suggests that he is making dupes of people, with chemical secrets, in order to earn a living” and that he then returned “back to Harwich and warned to quit the English shores. He was now thought to be on his way to Berlin”. (Mitchell correspondence)
24.4.62 Tszar Peter III signs a peace treaty with Frederick of Prussia.
3.6.62 Bettlern, Frederick of Prussia gives his instructions to J.H.Cocceji from his headquarters.
7.1762 Fighting alone in the east, the Austrians were soundly defeated in the Battle of Burkersdorf (July, 1762). The French, too, had suffered severe reverses. (Note by Yanni from memory: Saint Germain took a questionable part in the battle)
?7.62 Catherine, supported by the Imperial Guard, overthrows Peter and becomes Catherine II. Peter III dies while held prisoner by the Orlovs. Catherine denies complicity. Graf Gregor Orloff wrote to the Margrave of Brandenburg-Anspach that the Count(de Saint Germain) “played a great part in their revolution” and helped set Catherine II on the throne.
20.7.62 Frederick Nicolay is appointed page of the backstairs to Queen Charlotte (!!).
5.10.62. Gluck, Orfeo ed Euridice, Wien( B)
19.2.63 JCBach* opera Orione was given its premiere in London . (In 1764 JC was appointed music master to the Queen.)
14.5.63 Gluck: Bologna, Il trionfo di Clelia
22.7.63 Potsdam,”Madame ma cousine,J'ai de grandes obligations au sieur Grimm, ma chère duchesse, puisqu'il me procure une lettre de votre part, où vous m'assurez de votre précieux souvenir.Nous avons ici M. d'Alembert, qui vaut mieux encore en société qu'en ses livres”.
* Persons marked by * have alll been already identified in other threads as aliases of Gioachino Cocchi, aka Comte de Saint Germain. P.M.Hennin in particular has been also identified as Yanni's ancestor. There were two Hennins, the afore mentioned and a brother "Hennin de Beaupre".
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Re Bach/Handel's music, church music in particular: It most propably has as source the vast Caccini -Cocchi-Caussin Florence archive, at the time in the hands of Dr Antonio Cocchi, then(1724-26)in London. He is on record as the first italian mason and so are his ties to the english lodge in Florence and his friendship to Isaac Newton and other dignitaries.
http://www.youtube.com/watch?v=IW1Fl...eature=related