Mozart in English

Yes, ace, Julius Ceasar and Marcus Antonius are to blame for occultism/globalism too.

Young Buranello's relations to Gian Gastone Medici are on record but do not refer to music exchange!

Already famous, after Gian Gastone, he was very popular in London 1741, became maestro degli Incurabili in 1762 (after Cocchi, around 1752, then corespondent only) and was then invited to Russia whereform he returned in 1768.

He was strongly influenced by "general" Koch-Cocchi-Grimm etc, was not one of his aliases, and is on record as Burney's host, August 11-16th 1770, in Venice.

He did not have one of the three copies of the Miserere to give him, ie Burney copied padre G.B.Martini's, the invention of a Cirillo Martini circulating sometime after to cover up.

With regard to Earl Cowper and Charles Burney, here is a question for Robert to address while racing around his groveling pile:

Did they meet at all during Burney's first trip to the continent in 1770?

According to Wikipedia, Burney ....left London in June 1770, carrying numerous letters of introduction, and travelled to Paris, Geneva, Turin, Milan, Padua, Venice, Bologna, Florence, Rome and Naples

He certainly missed 'shadowing' the Mozarts, hosted in Florence by Cowper, Martini etc, March, and in anycase, must have been in a great hurry to reach Venice early August as he did.

You know what?

There never was a real C.Burney or a real Earl Cowper either, they are both aliases of youknowho, agent of their Hannoverian -then pangermanic already-Majesties!

Ta-ta!

PS Read H.Walpole's letter to Horace Mann, May 29, 1786, on 'Cowpers' first and last visit to London and draw your further(!) conclusions at your ease.

''There never was a real C.Burney or a real Earl Cowper either, they are both aliases of youknowho, agent of their Hannoverian -then pangermanic already-Majesties! ''(Yanni)

I find this to be nonsense and tedious nonsense ! It is as silly, as absurd, as your theory that JS Bach was the same man as GF Handel ! With not a shred of actual evidence to support it also. Despite being asked repeatedly to provide some.

Here is a painting of Charles Burney (1726-1814) - one of several - made in 1781. Would you like others ?

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

Here is a painting of the 3rd Earl Cowper (1738-1789) - one of several. Would you like others ?

http://en.wikipedia.org/wiki/George_...rd_Earl_Cowper

May I suggest you stop making silly posts ? I am no longer reading any such lazy minded rubbish. My energy is devoted to other things. This thread is on W.A. Mozart. Please keep it that way. The writings of Burney and of 3rd Earl Cowper (both voluminous) are available to be seen in several libraries here in England. They are entirely different handwritings. That too is a hard and simple fact which torpedoes your latest fantasies.

Thank You.

And, while the world goes mad - some sanity -

JS Bach
Aria
Cantata 198/5

http://www.youtube.com/watch?v=E7V_D...eature=related

BWV 198/6

http://www.youtube.com/watch?v=dgpJe...eature=related

I am truly sorry you feel that way but have to accept as sincere your rude reaction so that I may ask you, one more time, the same as previously:

Did they(Burney and Cowper) meet at all during Burney's first trip to the continent in 1770?

In http://www.online-literature.com/for...=54106&page=30 and earlier, you claimed that Burney shadowed the Mozarts in their trip to Italy, 1770, evidently ignorant even of the "fact" (Wikipedia) of Burney's alleged June 1770 departure from London (let alone your remarkable overall ignorance of history, lack of a timeline, 'divinely inspired' conclusions and/or fixated squareness).Furthermore, as 'lo scompigliato'* later claimed, further to the Miserere copy he borrowed 'sometime' from 'padre Martini' in Bologna (and the greek church music he copied from his alleged 'abate Cirillo Martini', August in Venice) he also obtained another copy, 1770, in Florence (p137, footnote 59 'W. A. Mozart',Hermann Abert,Stewart Spencer), so the question if and when he met (then or ever) his 'fellow englishman Cowper' -or the Mozarts-is very much within your subject.

As for the portraits**: 'Youknowho' bought them along with the artists, they were drawn as he wished (as his alias should, in his opinion, look), I have made this observation (in this forum -The puzzle of the socalled "Bach variations") while discussing alias 'Immanuel Kant' and his orders to his portraitist but you were propably 'elsewhere' at the time. His cousin was Charles Nicholas Cochin btw who controlled art in Paris 1750-1790's something.

Answer my question and I'll provide the solution to the puzzle (of Dennis Pajot) "Concerto for Two Lyres" attributed to "Maestro A. Mozart" [Ms. 5829-Naples] *** of 1770!

Or dissappear and I'll solve it anyway!


*Ex jesuit Requeno, naming Burney 'lo scompigliato' ('Saggj sul Ristabilimento dell' Arte Armonica de' Greci e Romani Canton' Parma, 1798), is referring to Cocchi's 'La famiglia in scompiglio' London, 1762. His (comte de Saint Germain's) cover was blown after 1784-Regensburg!

**'Burney's' portrait may be true however: He looks very much like Mozart's 'other' patron, Nicolaus von Jaquin http://www.dieuniversitaet-online.at...cquin/367.html, another alias of maestro Gioachino Cocchi/Comte de Saint Germain.

***In the MS puzzle 'Milord Cowper' IS involved (Pajot quoting Fabbri).

'Silentio post clamores' , freely interpreted as 'Cat got your tonque!' (affirmative)

Ricetti gramezza e pavento -

http://www.youtube.com/watch?v=zYJ9aWTfndc

All of a sudden..."Tuo saver al tempo e l'età contrasta", dear markiss!

:ciappa:

'Mozart, Munich and 1762'

(The little known 'first musical tour of the Salzburg genius', Wolfgang Amadeus Mozart (1756-91) in January 1762).

http://www.mediafire.com/?wl7x87jcoij23uw

R.Newman
2011

-Andrea Bernasconi has practicaly no biography
-1762 is very important
-'Handel/J.S.Bach/Van Swieten/An.Cocchi etc' was alive.
-'G.Cocchi/Grimm/Rousseau/Gluck/Durazzo/H.G.Koch/Hasse etc' was extremely busy
-stick to 1770 for the time being, I still have 'Durazzo(2)/Pallavicini' to clear
and
-I need another lifespan if each year is to be placed under the microscope.

Of interest the 'other' "JCBach" working for Chandos & 'Handel' in 1721, hah-hah!

Quote:

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Originally Posted by Musicology

'Mozart, Munich and 1762'

(The little known 'first musical tour of the Salzburg genius', Wolfgang Amadeus Mozart (1756-91) in January 1762).

http://www.mediafire.com/?wl7x87jcoij23uw

R.Newman
2011

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Quote:

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Originally Posted by Musicology

'Mozart, Munich and 1762'

(The little known 'first musical tour of the Salzburg genius', Wolfgang Amadeus Mozart (1756-91) in January 1762).

http://www.mediafire.com/?wl7x87jcoij23uw

R.Newman
2011

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Thank you Robert for the link. I've read your pdf.

I think you're right. This year 1762 is very important also, for the career of Mozart. I've never thougth about that. I see that Mozart had just composed a Minuetto, or very few things, and then he did a concert in the residence of the Emperor :lol:. How could it be possible? And also what Nannerl had written is very misterious.

"The career of Mozart" is of minor concern to me whereas 1762 is important for my hero (who apparently patronised Mozart all along having Leopold, his trusted associate, propably substituting for him and that's why Leopold does not record the event, "Bernasconi" being an invention perhaps).

Cocchi: Alessandor nell'Indie (13.10.1761 London KT)
Gluck: Le Cadi dupé (9.12.1761 Wien B)

Mozarts in Munnich/Bernasconi

Cocchi:Le nozze di Dorina (spr.1762 London KT)
Cocchi:La famiglia in scompiglio (spr.1762 London KT) (he then dissappears from London until 1771)


"It was for Andrea Bernasconi that Gluck is said to have written his opera ‘Alceste’."

You mean Antonia?

The career of Mozart is important in my opinion, because this thread is devoted to Mozart.
The pdf by Robert I see is not just about a year in general, but about a month in particular, and focuses on three weeks in that year. Interesting, because nobody studied this part of the Mozart's biography until now.
In Munich I think Leopold Mozart eventually met some important people, who probably helped him to promote Wolfgang. Who knows.............
I searched for Minuetto K1 on Kochel and in NMA edition. I see the piece is VERY simple and also short, there are others of them, all the same, and not so good. Somebody I've read in some other articles is also not sure they are written by Wolfgang Mozart.

It's very strange that Mozart was a perfomer at that time. And I wonder why in the following years nobody would remember Mozart would have performed a Concert in Munich in that Jauary 1762. Very strange indeed. What do you think Yanni?

Quote:

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Originally Posted by yanni

"The career of Mozart" is of minor concern to me whereas 1762 is important for my hero (who apparently patronised Mozart all along having Leopold, his trusted associate, propably substituting for him and that's why Leopold does not record the event, "Bernasconi" being an invention perhaps).

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Hi there Pyras,

Thanks for that. Wurttemberg and Schwetzingen were major in the public career of young Mozart also. Yes, 1762 was a crucial year. Hopefully it shows from the very start the myth and the reality were completely different. The Minuet in F Major (KV2) must be one of the greatest works ever written by mankind. That explains it. Yes ?

:nopity:

http://www.youtube.com/watch?v=xbComO-51Fk

Quote:

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Originally Posted by Pyras

Thank you Robert for the link. I've read your pdf.

I think you're right. This year 1762 is very important also, for the career of Mozart. I've never thougth about that. I see that Mozart had just composed a Minuetto, or very few things, and then he did a concert in the residence of the Emperor :lol:. How could it be possible? And also what Nannerl had written is very misterious.

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"This thread is devoted to Mozart" and, soon as 1770 showed its teeth, it(thread) jumped to 1762, pyr-as*!

Quote:

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Originally Posted by Musicology

Hi there Pyras,

Thanks for that. Wurttemberg and Schwetzingen were major in the public career of young Mozart also. Yes, 1762 was a crucial year. Hopefully it shows from the very start the myth and the reality were completely different. The Minuet in F Major (KV2) must be one of the greatest works ever written by mankind. That explains it. Yes ?

:nopity:

http://www.youtube.com/watch?v=xbComO-51Fk

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Yes Robert,

it's extraordinary, just because I see that these pieces are not Minuetti at all. They are not complete, also, and are very simplified versions. I think also this K1a K1b etc. were composed in 1761 or 1762 (before or after the trip to Munich?), they don't know. I suppose they seem to be, in my opinion, a sort of a kind of orchestral music simplified by Leopold, who took a piece form the violins, a piece from the Basso, and so on, just to provide a simplified and childish version. It would have been very usefull to exercice the young boy. Actually these compositions are too small to have a meaning, without a trio and so on. And too strange, for they have no context at all. They are not composed in the notebook. They are just copied in the notebook. There is no sign of mistakes, no changes were made.