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Still "unknown": A theater artist basically, his links to my hero's "austrian'' aliases "Waldstein,Durazzo, Gluck, Casanova, Pallavicin etci" are certain but remain in the dark just as the date and reason of ownership-change of "Palais Pallavicini" to http://de.wikipedia.org/wiki/Moritz_...graf_von_Fries.
You are wellcome to enlighten us!
Quote:
Originally Posted by Themis
Oh, but I am talking of the "'dark side" or 'raison d'etre' of your hero Mozart all along, haven't you 'noticed'?
Such as:
"July 1743' refers not just to Niccolo del Re's mix up of the "two" cardinal Pallavicinis (Francesco Maria Pallavicini, titular archbishop of Naupactus ie Lepanto and Lazzaro Otavio Pallavicini who somehow got the same 'Lepanto' post, as if by hereditary right, sooon after!!) BUT also to "Rousseau/Burney/Pallavicini/Gioac.Cocchi' etc" same month&year appointment to the french embasssy in Venice under "Montagu" just as his father, "Handel/Bach/Desaguliers/Amyand/Ant.Cocchi", did, around 1710 (followed banker-conspirator Charles Montagu, the leader of the Venetian party, to England, hence 'Rinaldo, 1711') .
SAME for your "Lazzaro Ottavio Pallavicini"'s 1778 letter on Voltaire's death: You forgot mentioning that a month after Voltaire, "Rousseau/Burney/De Nicolay/Kant" staged his own "death"' , that he still had many "things to settle" in Austria/Italy and had therefore every reason to keep his 'Lazzaro Ottavio' profile intact (Hence Mozart's change of opinion on his host, "Grimm/Gluck ", at the time).
EVERYTHING concerning your little Mozart has been CREATED, carefully and very professionaly, TO HIDE the major 18th century conspiracy and their topmen BEHIND Mozart, who played along as NISSEN REWRITING his father's and his own correspondence, UNDER the supervision of "Frederick &Ludwig Heinrich von Nicolai/Kant etc", living nearby. HENCE later Mozart's idolisation, still running strong!
BTW, Leo Damrosch, drawing from Rousseau's 'Confessions' :biggrin5:, speaks of an "Abbe de Binis" who assisted Rousseau in the french embassy of Venice, the same man obviously who "1751 de Bernis was appointed to the French embassy at Venice, where he acted, to the satisfaction of both parties, as mediator between the republic and Pope Benedict XIV. During his stay in Venice he received subdeacon's orders, and on his return to France in 1755 was made a papal councillor of state." (But was never consecrated as far as the eye can see!)
WHO WAS then DE BINIS/BERNIS and what was his role in Rome during Mozart's 1770 visit?
Was he residing at "Pallazo Pallavicini" or "Pallazo Mancini" in Rome or in "Pallazo Cocchini" in Venice earlier?
Who cares really: He was the one who performed the last rights on LUIS XVI, was he not, with 'Mirabeau' second fiddle?
"Rome" fell to 'their' charms long before 1767 (demolition of Rome's "army", the Jesuits)!
CAN WE TRUST official historiographer of France (1771) "Marmontel's" relative " DE Binis/Bernis" fable OR ANY OTHER?
Considering his "close relations" to all our theatrical heroes* and his membership at Les Neuf Soeurs, the answer is NO, it's ALL C.R.A.P.!
But, as you refuse to touch your Foreign Service archives, why don't you try finding "John Ruskin's" brit descendants to ask them why he thought of "Marmontel"** as "one of the three people in history who were the most influential for him."
Amazing how many new ruskie cozens (JR's mother named Margaret **** or Cox) have now surfaced!
:lol:
*Marmontel in 1745, acting on the advice of Voltaire, he set out for Paris to try for literary success. From 1748 to 1753 he wrote a succession of tragedies (Denys le Tyran (1748); Aristomene (1749); Cleopâtre (1750); Heraclides (1752); Egyptus (1753)), which, though only moderately successful on the stage, secured Marmontel's introduction into literary and fashionable circles.
** short 1765 Timeline
May 17, 1765 Zophilette, a pasticcio including music of Baldassare Galuppi (58), Christoph Willibald Gluck (50), Nicolò Jommelli (50), Tommaso Traetta (38), Niccolò Piccinni (37) and Johann Christian Bach (29) to words of Marmontel, is performed for the first time, in Paris.
May 19, 1765 Christoph Willibald Gluck’s (50) ballo pantomimo Iphigenia in Aulide, to a choreography by Angiolini is performed for the first time, at the Laxenburg, Vienna.
June 27, 1765 François-Joseph Gossec’s (31) opéra comique Le faux lord, to words of Parmentier, is performed for the first time, at the Comédie-Italienne, Paris.
July 8, 1765 An advertisement appears informing the English public http://www.mozartforum.com/VB_forum/...ead.php?t=2204 that the Mozart family will be giving public concerts every day from 12-3:00 p.m. in the Swan and Harp Tavern, Cornhill. They have had to take a room there.
(and Handel/Bach -with countless "Koch" or "Cox" or "****" sons- was alive at the time, 1765!)
Quote:
Originally Posted by Musicology
You write "Mozart has been created". That's could be an idea, but just an idea. I do not completely agree. Which Mozart was created? There are lot of Mozart available. The one in 1762, another in 1773, another in 1781 and another one in the Requiem ....... and so on. He changed his style lot of times. Wich Mozart are you talking about?
Mozart in fact is complex.
"Mozart has been created"? You could be right in a way, but wrong in another.
Musicology, and Bianchini solution could be perhaps not the best one, but at least it is practical. Just to analyze, study a piece at a time in 1770, it's ok. The research is open. There is not just a solution. There are just documents to look at. To collect and to take into account.
I suppose they choosed that year 1770 because it is very important in Mozart's career.
In school books, authors use the facts happened in 1770 to tell us lot of stories about Mozart. Expecially that about Miserere and, in my opinion, it was just fiction. The pdf is very interesting.
In Italy Mozart is supposed to have studied with Martini and Ligniville.
I see that Martini teaching cannot be proven. I also agree. It's probably fiction. Ligniville I don't know. Let's see.
Quote:
Originally Posted by yanni
Mozart has never been of concern to me, ask Musicology: He'll confirm that, from his early joining this forum, and long before, my focus has always been on The Manufacturers.
Have fun with your extinguisher!
:coolgleamA:
Quote:
Originally Posted by Pyras
Yanni,
I think your graffiti (which consists only of names and dates in no obvious connection to anything but which you alone believe are of obvious but unexplained significance) will be of some amusement to certain readers (including yourself) although the whole thing is tedious beyond belief to me. An explanation of the supposed relevance of your posts is no longer expected in detail by me. Since we have already seen countless examples of this strange behaviour from you which has led nowhere even on this thread. And, frankly, I am past caring. You are obviously doing what you do best.
We do not need an extinguisher in your case. We need only for you to join up the dots of your sprawling and incoherent posts. Which would make them worthy of reading. It may be a good idea for you to learn to compose a thread on one specific subject, or to write something on the subject of this thread whom you admit you have little interest in - W.A. Mozart.
Till then, I will spend my time on better things than answering your posts.
Yes Pyras,
Yanni appears unable to examine a subject with any method. The subject of this thread is W.A. Mozart - on which he admits he is hardly interested ! And it goes from bad to worse. He is not presenting evidence on which he wishes to offer an explanation. Nor do his posts survive cross-examination. He is trying to convince himself (and nobody else, it seems) nobody understands what he (and only he) understands. And the last person to ask about this strange behaviour is himself. Since his mystification includes himself.
(In the history of the world it is clear that men and women have had the opportunity (and have often taken it) to move from mystery cults to that which is revealed in broad daylight. And who now take advantage of this happy fact).
Yanni's first post of W.A. Mozart is still eagerly expected. He should stay with us and learn more. :nod:
And here is a short interlude -
JS Bach
Et Resurrexit
http://www.youtube.com/watch?v=wfJLA...eature=related
Quote:
Originally Posted by Pyras
MOZART - THE GRAND TOUR (June 1763-September 1766)
When Leopold Mozart, his daughter Nannerl and son Wolfgang left Salzburg together by coach on 6th of June 1763 they were starting a vast journey across a continent only gradually emerging from years of war. Their father determined to introduce his newly celebrated children to leaders of numerous European courts. Continuing a series of extraordinary contacts they had made less than a year before in Vienna. This journey taking them first to the Bavarian capital of Munich where they had also stayed for several weeks during the previous year ( the facts of which were suppressed by Leopold for reasons which have been discussed elsewhere) and travelling on to Leopold’s home town of Augsburg, then to Ulm, Mannheim and Frankfurt, (at which location the fourteen-year-old Wolfgang Goethe was among those who heard them). They continued on through Cologne, Aachen, and Brussels and then on to Paris, where the family at last settled down for around five months. Mozart publishing his first works in the French capital and six weeks later, he, his father and sister were invited to appear at the court of King Ludwig XV and are said to have performed for the King's mistress, the Marquise de Pompadour.
In April 1764 this journey reached epic scale by a long stay in England - during which Wolfgang is credited with having composed his first symphonies after making the acquaintance of Johann Christian Bach and other musicians based there at the time. Starting a return leg that was to include lengthy stays in Holland, Belgium and another in Paris. After which they travelled through various parts of Switzerland, again visiting Munich and finally returning home to Salzburg on 29th November 1766. Ending a tour that had lasted close to 3 ½ years.
A series on this subject will be started here within the next few weeks.
//
Musicology, Pyras and Lellyvigni are 'kindly requested' to define the specific parts* of my last few posts (or any earlier ones) on Mozart they find hard to understand/digest!
Until then :sleep:
*Beside the reference to their extinguisher!
I find it hard to understand/digest how Yanni can post here on this thread when he has already stated he is not interested in Mozart. This IS a Mozart thread. But it's true he has only been told this 9 times !!! Perhaps he needs a bit more time than most who read this thread ?
Quote:
Originally Posted by yanni
A detailed answer to your question is to be found in my post 122 above (quote: '... I am talking of the "'dark side" or 'raison d'etre' of your hero Mozart all along, haven't you 'noticed'?').
Try, if you can, focusing there to then inform the forum what part of it you don't understand and/or find irrelevant ('with no obvious connection') to product Mozart.
:sleep:
Quote:
Originally Posted by Musicology
We are not interested in what might have happened but are showing what DID happen. And this thread (for the 10th time) is focused on W.A. Mozart.
Thank You
Caring for your proper education, I'll bypass your rudeness, obviously due to indigestion, to ask you once again to focus on my post 122 and advise the forum "what part of its contents etc etc?":
How on earth will you show 'what did happen' if you ignore the very same people who promoted the Mozarts during their trip to Italy, 1770?
If unable to focus due to the gravity of your situation, I have the remedy for that as well! In a word, try the Kochs!
Not any Kochs however, you will really find comfort only from:
http://de.wikisource.org/wiki/ADB:Ko...z_Freiherr_von (Version vom 7. März 2011, 16:20 Uhr UTC)*
The austrian Koch branch who, like their french, prussian and english cousins, played an essential part in the manufacture of all "other" music masters we discussed so far (including Leopold and Amadeus).
Maria Theresia was so enchanted by one of them Kochs, she made a promise in writing, sometime in 1751, to be eternally gratefull to him and all his family. That was during the time 'Gerard van Swieten' assisted her in a particular manner as discussed in another thread already.
The am article confirms what "we" knew already: The austrian Kochs did use aliases (but the article does not diclose them nor their number).
Ignore them (Kochs with aliases) and risk constipation for life.
Ta-ta!
*My thanks to http://de.wikisource.org/wiki/Katego..._Victor_Felgel! :"Wenzel Kaunitz", with "Rousseau" as secretary "sometime" 1750-53, looks like a very promising "Saint Germain" candidate.
Quote:
Originally Posted by Musicology
Yanni,
I think you have been given a fair hearing. You are free to make your own threads. I will not reply to anything you post here. This thread is on the life and career of W.A. Mozart.
Never complained this forum has not been "fair" to any of my threads.
Your repeated refusal to reply to my questions on Mozart's entourage will be relatively evaluated and be given it's fair due by the ulimate judge, the reader!
As far as I am concerned: Anyone sterilising Mozart from the dramatic social changes that defined him and the people- and their reasons-who promoted him life long, is highly suspect of continuing the practice of intentionaly misleading the public.
I will therefore continue posting in this thread (or any other by you on Mozart and his obscuring "diapers") whatever course you decide to take next.
I also advise you and all concerned that major revelations are in the works.
Ta-ta!
Quote:
Originally Posted by Musicology
I see that there are very big problems also about the music Mozart was performing during Mozarts' trip in Munich. What music Wolfgang was supposed to have performed? If we take a look in his first exercices, this idea of performing a concert, improvising music, it's completely unbelivable, in 1762. Is it true they didn't have any keyboard at home?
Quote:
Originally Posted by Musicology
Hi there Pyras,
The first keyboard in the Mozart family was a small portable bought by Leopold Mozart on a visit to Augsburg made there between June 22nd and July 6th in 1763 at the start of their grand tour of Europe. From the maker Stein. Which Leopold said in a letter would be useful for practice during their travels !!!! :rolleyes5:
The first real keyboard owned by the Mozarts was obtained in Salzburg only in 1776 - when Mozart was already 20 years old. Not long before he left for an extended stay in Paris. And the celebrity of Wolfgang in Vienna (late 1762) for several months came at a time when he had composed nothing and studied nothing. In fact (rather than fiction) neither Leopold nor Nannerl studied music theory or harmony at any time in their entire life. I have seen no evidence which contradicts these facts. There is none.
Regards
Quote:
Originally Posted by Pyras
MOZART - THE ‘GRAND TOUR’
(June 1763-September 1766)
1/7
PREFACE
The appeal to our naivety is the means by which the cultural and academic myth of Wolfgang Amadeus Mozart (1756-91), (‘genius composer and performer’) has always succeeded. And why elements of his myth have always tended to transcend historical and musical criticism within the academic world, even on those rare occasions where its exponents have been forced to face its own inherent contradictions and absurdities. Naivety and its exploitation were certainly a major factor with young Wolfgang himself. This also explains why we are indifferent to claims that W.A. Mozart was an exploited child. And this modern naivety of ours (plus refusal to fairly examine evidence from history and from documents of the time) have always been factors in determining the contents of much loved biographies of Mozart’s supposed childhood and public career.
The same is true of accounts of their giant musical tour taken across Europe between June of 1763and September 1766. At the time of which Wolfgang, the alleged composer of only a single clumsy minuet in B Flat Major (and virtually nothing else) had not studied music composition nor attended a single day in school. (Nor did he to do so over the years which followed). Nor were Wolfgang's family owners of a keyboard. But the Wolfgang of popular belief does not depend upon facts such as these which tend to undermine his myth. And we must remember he and his family had already tasted instant celebrity amongst rulers and the nobility of high society in Vienna over several months before being persuaded to set out again from Salzburg in that year of 1763. Accompanied by a new servant, Sebastian Winter (he having been seconded to serve them only weeks earlier to prove their rapid rise in status ). This farce being matched by the sudden and unexpected promotion of Leopold Mozart from his lowly employment as 2nd violinist at the Hofkapelle to that of Deputy Kapellmeister at Salzburg. (An amazing thing in itself, you may agree). Nor do we need to point out Leopold, now about to be absent from his very place of employment in Salzburg for close to 3 ½ years, taught nobody, even on his eventual return ! These too are widely considered to be inconvenient facts. Since what followed these earlier adventures of 1762 in Munich and Vienna proved to be a far more audacious, sustained and stage-managed affair which took the starry eyed Mozarts across most of western Europe over the next years. During which they would be protected by a network of fraternal patrons then in high office, applauded wildly by the credulous as prodigies and ‘wonders of nature‘, and supported throughout the whole of this extraordinary performance by a string of other allied myth makers and promoters. As usual. An outline of which will be offered in the coming weeks over the 7 parts of this series.
(I would however advise young children and those of nervous disposition to read other kinds of Mozart literature)!
Thank You
R. Newman
Yanni,
Thanks for reminding us of the fairy story. Musica babylonia. Why are these aristocrats always witnesses to these 'miracles' ? There were of course thousands of children who could play minuets at the time. And many of them. It is clear from the very start we are with this story, (embedded within textbooks and taught ad nauseum) either privileged witnesses to a prodigy of nature, a 'genius', or to one of the longest, most contrived acts of musical deception in all of musical history.
And guess what ? It's the second of these. So says the evidence.
Edward Grieg (1843-1907)
Solveig's Song
Peer Gynt Suite
Lucia Popp - Soloist
http://www.youtube.com/watch?v=aU0WN...eature=related
J.S. Bach
Chorus
Cantata 70a
http://www.youtube.com/watch?v=eawhwmykzl4
Quote:
Originally Posted by yanni
There is no other fairy story closer to 'obscurantism ad nausem' than yours.Quote:
Originally Posted by Musicology
The Mozart site I quoted does, at least, name "Grimm' as his promoter-host in Paris (with the Mozarts leaving for London only five days before Mme Pompadour' s passing with 'Buffon' allegedly at her side). How could they (the Mozart site) know that this Grimm was a brit secret agent who, foolishly, used the same name 'colonel Graeme' three years before (17th July 1761) when he acted as a marriage councellor to the Prince of Wales escorting even the bride (Princess of Mecklenburg-Sterlitz) to London. Or was he using his 'Frederic de Nicolay' other alias?
Terrible mix up of later brit music myth writers, don't you agree? (post 198 of http://www.online-literature.com/for...=54106&page=14).
But then you can't really afford rewriting the truth, can you?
Not with the brit inspired 'Musica Babylonia' of first brit musicologists on record "John Hawkins" and "Charles Burney", inventors of their "Bach- noBach" thru their very own 'JH from Vienna'!
Thus 'Joseph Haydn' hiding for 30 years in (truly his) Bohemia somewhere!
Blunders upon blunders by him and other later lying idiots!
And, no, other than those within the limits of your phantasy, there were no 'thousands' of young children able to play minuets at the time, .
Get lost.
Yanni,
For your information, (and this is a priority for me to teach you), the number of children who played (and learned) keyboard during the middle to late 18th century was actually several thousand in Europe. It was a rapidly expanding thing. It was a common thing, in fact, for families of the middle and upper classes to learn music as a matter of routine. With keyboard common. And there were many teachers and virtuosos. Keyboard (including organ) playing was so common in those days before TV and computers that hundreds of men wrote sonatas for keyboard many decades before W.A. Mozart was even born. Scarlatti wrote several hundred alone. There were literally hundreds of music students in every major city of Italy, France, Germany, and elsewhere in the 1760's. Who were expected to learn keyboard. As a matter of course. But this, of course, you do not know. And why should you ? You have never studied the subject, have you ? You wish to demonstrate your profound ignorance, do you ?
As for the early minuet in B Flat major (which was Mozart's only official composition by 1762) it was not even written by him. But by Leopold Mozart. LOL !
Thanks for at least mentioning Mozart. As for your version of musical history I think it is seriously defective in basic areas. Grimm is central to Mozart, for sure. You are right about that.
I will not be lost. I will remain discussing W.A. Mozart. Which IS the name of this thread. Do yourself a favour. Consider the number of keyboard sonatas in existence before Mozart's first tour of Italy - in 1770. There were many thousands. And do write again when you have something to contribute on the subject of this thread. That would be a real achievement. Post separately on Grimm and I will contribute.
Get found !!
There were no "several thousand children" who played and learned minuets on their keybord because there was practicaly no middle class then-neither that many harpsichords- and dances were held in palaces only (hence the minuets in Mozart's Don Giovanni, their perfection used as an example in minuet literature-Wikipedia).
But if 'Hawkins', 'Burney' and 'Rousseau' first counted them, their number would automaticaly tripple, wouldn't it?
All for the public hapiness coinciding with bankers interests!
Teach us why Burney's first volume of his General History of Music (London 31.1.1776) had to be followed by Hawkins's next five volumes published London July, 1776 and why 'Rousseau' had to disassociate himself....errr...."correspond" on the matter with Burney, before 'dying' 1778, his will executed in London!
But I forget, you are here as the expert in sterilising Mozart from "all that jazz"!
Go on, write your Mozart "Coordinated Research Associates Product'', we all need a good laugh!
Yanni,
Italian composer Domenico Scarlatti (1685-1757) is credited with writing over 500 keyboard sonatas alone. (That is 'five hundred' in ordinary English). There were several thousand (i.e. several groups of ten hundred) keyboard sonatas written even before Mozart was ever heard of. In Paris there were MANY composers of keyboard works who were teachers and virtuoso performers at the time of Mozart's birth. The same is true in Italy, Germany and elsewhere. From which 'Mozart's' earliest concertos were 'borrowed'. (Setting a trend for his entire career).
In 1740 (16 years before Mozart's birth) the Broadwood piano making firm was established. In 1745 Mirabal of Spain become a keyboard manufacturer. (The third in Spain alone). In 1750 Thomas Culliford begins making pianos in England. In Germany Silbermann, Stein and others. By the 1760’s there were over 20 manufacturers of early pianos in London alone. And still dozens of manufacturers of harpsichords and other keyboard instruments. In Italy the piano and the harpsichord were widely in use. The same is true across Europe.
Would it be fair to say you really have no idea what you are talking about ? (The term 'middle class' was used loosely by me to describe those of the 18th century who, although not being members of the aristocracy, were still able to learn and play music. Even this seems too hard for you to appreciate. Whose numbers were rapidly expanding from the early 18th century onwards. Recognised without dispute by every study of 18th century history, except yours). This explains why you cannot talk of Mozart on a Mozart thread, I suppose ?
Domenico Scarlatti (1685-1757)
Sonata L23
Horowitz
http://www.youtube.com/watch?v=JaHMd...eature=related
Domenico Scarlatti
Sonata K9
Glenn Gould
http://www.youtube.com/watch?v=9ilMO...eature=related
Quote:
Originally Posted by yanni
Here is a site to help you count the thousands of minuet playing little, mozart-like, middle class children on their thousands of little pianos* at their thousands littlle but happy households!
http://www.piano-tuners.org/history/history_1.html
*Harpsichords rather, their mere size and cost prohibiting ownership by any other than wealthy nobility and churches.
Thank you Yanni,
It reminds us. Leopold Mozart, a lowly paid 4th violinist for many years, rising eventually to 2nd violinist, (and then, amazingly, promoted to Deputy Kapellmeister weeks before he left Salzburg for over 3 years with his son and daughter - although he never taught anyone) never owned a keyboard (expensive or otherwise) before his son, the 'miracle of Salzburg', the musical 'Apollo', was adored for literally months in late 1762 by swarms of elites of Vienna, foreign ambassadors, the emperor and a string of aristocrats and flunkies wearing funny uniforms.
I love musical 'history'. And the minuet in B Flat Major is proof the 'genius' was real. Isn't it ? We must never examine the actual evidence.
If we are prepared to overlook the nonsense of 1762 what happens when they start their legendary tour in 1763 ? Leading up to their arrival in Italy in 1770. More of the same.
Remember - 'Everything you've heard is true' ('Amadeus' Trailer)
And now, over to you Baron von Munchausen ! LOL !!
JS Bach
BWV 911/2
http://www.youtube.com/watch?v=sqp2_...eature=related
Quote:
Originally Posted by yanni
Good morning Robert and Yanni.
Something I happened to notice on Wikipedia's "On this day":
March 12 - 1622 – Ignatius of Loyola and Francis Xavier, founders of the Jesuits, were canonized as saints by Pope Gregory XV.
Thought you might be interested.
Gilliatt
Good morning to you Gilliat Gurgle,
We as unquestioning consumers/students are not supposed to notice 'the joins in the cardboard' of a Mozartean dominated version of European musical history. (Such things are simply not discussed in polite company, you understand ?). But, since we are speaking of the Jesuit Order, (cough, cough !) we may describe this situation as a concerted attempt to bring about a seamless weld of revived Babylonian occultism within the status quo of 18th century Europe and its offspring, musically, and in other ways, members of whom acted at the time as patrons of this still ongoing nonsense, aided and abetted by a stream of sympathetic 'managers' and by men of high status, fraternal and otherwise in governments, overseen by roving members of the Jesuit Order - that order brought in to being by Venetian overlords to be agents of counter reformation but loyal to a revived Byzantium and Talmudic nonsense who, during a time known as the 'enlightenment', (and invented by them) united together the vested ruling interests of that corrupt continent in to a new and seductive image of a 'secularised' society - though the same vested interests remained, as usual, in positions of power and authority. Out of which union of interests the movement known as the Illuminati eventually arrived after the banning of the Jesuit Order (though temporary, to give it credibility), and with its amazing revival after the supposed end of the Holy Roman Empire came wider control of culture, education and musical history as we know it.
(''Run that past me again, Robert'' !! LOL).
J. S. Bach
Toccata
BWV 912/2
Angela Hewitt
http://www.youtube.com/watch?v=kjtw3MwNruo
Quote:
Originally Posted by Gilliatt Gurgle
A safe and sane morning is all I dare wish you today!
To explain 'miracle Mozart', your attention should be drawn on the tremendous influence as from 1741, of 'Van Swieten, Kaunitz, Ignaz von Koch, Durazzo etc', Austria's Reichsfürst as from 1764, on Maria Theresa and her sister, Archduchess Maria-Anna, 1741-1765.
The death of emperor Franz I, August 1765 (Maria Theresa's husband),his son Joseph II becoming coregent with his mother in September, threatened the very existence of 'Kaunitz' who had to flee to England*, as 'Rousseau', to avoid the fate of his close associates all dying 'suddenly' (Haugwitz on 30 August 1765, Dawn on Feb 1766, Dorn in the Netherlands, April 1766 and Giusti for Italian affairs early May)**.
Even so, Maria Theresa's 'confidence' on 'Kaunitz' continued and he was able later to return and keep his status but with strings attached (Joseph apparently did not wish to be near him ever again, so Kaunitz was posted away from Vienna for a while).
"Kaunitz' promoted the Mozarts: Their long 'tours' can only be examined in relation to him, his movements, contacts, world views and vision.
:yawnb:
*Harbouring 'corruption' even if not belonging to your 'corrupt continent', Robert.
**p61,62 'Kaunitz and enlightened absolutism, 1753-1780' by Franz A. J. Szabo.
Quote:
Originally Posted by Musicology
Durazzo and Kaunitz were related by marriage and were closely associated from around 1754. They married three daughters of the same family as Prince Esterhazy. Now, there's a coincidence, for sure ! As for timelines (LOL) -
Babylonia
Assyria (westward expansion in to) - 824 to 625 BC
Egypt
Palestine
Further Westward Migrations into
Greece
Founding Rome - Romulus and Remus
Estruscan Alliance in Italy and elswhere
Byzantium City States in Europe
Edicts of Emperor Theodosius
Transfer of Priesthood of Pagan Rome to Papacy
Edicts of Theodosius (381/2 AD)
Collapse of Western Imperial Roman Empire
Odoacer early 5th century (loyal to Byzantium)
Pontifex Maximus
Emergence of the Papacy now in alliance with the Secular early Kingdoms of Europe from early 5th century
Land Fraud of the Donations of Constantine
Charlemagne - 800 AD
Holy Roman Empire - from 800 AD
Viking Invasions and Occupations into Russia and Europe
Influence of Talmudism and Merger with Canon Law
Venice (gateway to Eastern Mystery Cults from Byzantium)
Renaissance of Pagan Old World Philosophy and Religion
Reformation of Christian West
Early Opera on Themes of Pagan World - patronised by the above
Jesuit Order aka 'Counter Reformation' (courtesy of Doges of Venice and men in high places within Rome)
Freemasonry (later exported to British Empire by 1717 from Venice)
Enlightenment Myths
Illuminati
Globalism
aka Elitism, Corporate Musical History, and the usual vested interests
(Free from Genetically Modified Contents and Artificial Colourings ! )
JS Bach
''Grosser Herr, o Starker Konig'' !
http://www.youtube.com/watch?v=hxr_s...eature=related
JS Bach
''Ehre sei dir, Gott, gesungen"
http://www.youtube.com/watch?v=NBT76...eature=related
Escaping to selective generalities of the past again?
Focus on:
.....'Kaunitz' who had to flee to England*, as 'Rousseau', to avoid the fate of his close associates all dying 'suddenly' (Haugwitz on 30 August 1765, Dawn on Feb 1766, Dorn in the Netherlands, April 1766 and Giusti for Italian affairs early May)**.
Such little details will help you understand not just Mozart but 'Handel/Bach/G.van Swieten etc' as well!
The only understanding we need is why Yanni never posts on Mozart when this thread is clearly on W.A. Mozart.
Quote:
Originally Posted by yanni
Imo you shoud add "...'s diapers" to complete your sentence.
BTW Did the empress donate them along with Wolfie's suit in 1762?
Quote:
Originally Posted by Musicology
Yanni,
Genies do not wear diapers. They are legendary, disembodied spirits. Ali Baba etc. But, just to make them credible, was invented the idea in Mozart's own time that they were incarnated. One of them being the young Mozart himself, (the alleged composer of Minuet KV2 - diapered or not), who was a 'genius'. And the rest, as they say...........
Remember - 'Everything you've heard is true'. (Trailer to 'Amadeus')
Quote:
Originally Posted by yanni
Amazing shift of focus!
------------------------------------------------------------------------
No, we can't!
We have dealt with diapers. If Yanni has anything else to contribute on W.A. Mozart that will be really interesting. That will be real shift of focus.
JS Bach
St John Passion
Opening
Masaaki Suzuki
http://www.youtube.com/watch?v=QJ0Vg...eature=related
High on the summit of Musicology but shrouded by thick clouds is a body of academic studies so erudite, so well established, so well patronised and admired, so widely taught and believed but so conservative in its publications and pronouncements over the last 200 years that the Chinese philosopher Confucius (559-471 BC) would have turned green with envy.
I refer, of course, to ‘Mozart Studies’.
J.S. Bach
Concerto BWV 1055/1
Allegro
http://www.youtube.com/watch?v=6qinD...eature=related
MOZART - ‘THE GRAND TOUR’
July 1763-November 1766
Or
A PORTRAIT OF ‘GENIUS’
1a/7
High on the summit of what is sold as ‘musical history’ but protected from fair scrutiny and criticism by dark clouds are those who, academically and culturally, preside over institutionalised eulogy and exaggeration. So successfully they, these teachers of myth would be envied by Chinese philosopher Confucius (559-471 BC). Since the myths of the state in respect of musical history have amongst their most successful examples those that are called ‘Mozart Studies’.
By offering this first of a series of articles on the ‘Grand Tour’ taken by W.A. Mozart and his family between July of 1763 and November of 1766 my aim is to continue a critical examination of the legendary musical life, career and status of that iconic composer. Young readers, captains of Austrian tourism and those of more gentle disposition can choose to ignore these ramblings and should return to the warm safety of Mozartean mythology. Since we will focus on the absence from Salzburg of young Wolfgang Mozart, also of his father Leopold and elder sister Nannerl for close to 3 ½ years, starting from the middle of 1763. During which time they toured much of Western Europe by coach with, so we are told, phenomenal success. Although in fact the ‘Grand Tour’ is a subject on which more nonsense and unfounded eulogy has been written over the past 200 years and been absorbed more completely by students and the public than virtually any other subject in the entire span of musical history.
Let’s first remind ourselves of the two earlier ‘tours’ made by the Mozarts during the year before, 1762, to Munich and Vienna - in the first of which the trio stayed for several weeks in the Bavarian capital. Although it’s details have been strangely suppressed from the otherwise meticulous travel diaries of Mozart’s father. A fact with which to begin here since this, we believe, was the beginning of Mozart’s public musical career. Leopold’s strange silence begging an explanation. The start of Mozart’s musical career in fact. But the court at Munich during early January 1762 provided young Wolfgang with a series of musical contacts (mostly of an operatic kind) that are obvious importance for any meaningful study of Mozart’s later career. Thus they are strangely suppressed. The silence imposed on that subject by Leopold, (during what is eulogistically known as his son’s ‘first musical tour’) is just as strangely in direct contrast to the amazing events said to have occurred later that same year when these two children, being celebrated as ‘prodigies of nature‘ (though they were unschooled and lacked musical performance experience or compositional achievements, never attending school in Salzburg nor learning the elements of musical composition) were treated royally there in the Austrian capital of Vienna, this for several months, and they even attracted swarms of enthusiastic rulers, aristocrats, senior officers of state, military leaders and other admirers (plus a whole series of adoring ecclesiastical rulers and envoys) .These events of Vienna late 1762 were the cause of hyperbole and euphoria amongst the nobility of that time. So that Mozart in Vienna 1762 may even be described as one of the more bizarre demonstrations of aristocratic buffoonery and credulity in all of 18th century music. Although those champagne days of their second tour are routinely accommodated within what we call musical history and without serious examination. Besides, the Mozart myth moves on to provide the gullible with even more strange and popularised tales for their consumption. Wolfgang’s musical achievements at the time consisting only of the dubious attribution to him of a keyboard minuet in B Flat Major (KV2). Whose musical qualities were somehow seen as being so wonderful they probably account for all the adulation and hysteria. From a critical viewpoint, that first year of Wolfgang’s musical career (his ‘first two musical tours’ that is) have always been founded, if we are to be honest, on a series of facts, suppressions, improbables, exaggerations, paradoxes and officially sanctioned absurdities which we and its managers choose to overlook, whose musical and biographical implications are ignored, glossed over, diluted or marginalised. Soon to be transcended by others of a still greater and even more wonderful kind during that long and legendary third tour of 1763-6 which we will now start to examine. Such is the stuff of Mozartean musicology. And of Mozart ‘biography’. It always has been.
But it’s only fair that other basic facts are brought to our attention on Mozart that are of a far less well known kind. His father Leopold had by mid 1763 only recently been promoted from the lowly post of 2nd violinist in Salzburg to that of Deputy Kapellmeister - (during June of 1763). Greatly promoted, in fact, prior to him and his children leaving Salzburg for 3 ½ years. Creating a situation, you may agree, that was not ideal for the musical establishment of Salzburg itself and certainly not for the formative years, education and innocence of his two children. Leopold’s new status being the equivalent, perhaps, of a baggage handler at an airport finding himself promoted to deputy pilot and being transferred a few weeks later to working for years in a coal mine. Since Leopold never taught music, never served the Hofkapelle as a teacher nor wrote music for it from that time onwards. Which tends to be ignored also. We wish to believe the Mozart story. Convention decrees that we do so. And what, exactly, do we know of late 18th century musical achievement outside of the Mozart story ? Outside of the Mozart myth ?
If you are not yet persuaded Mozart and his road shows are musical and cultural ‘stage management’ on a wholesale scale and if you tend to suffer from amnesia when asked to consider their tours of 1762 in Munich and Vienna you may add this remarkable ‘promotion’ of Leopold by Salzburg Prince Archbishop Sigismund von Schrattenbach (1698-1771) since it provides still more evidence of being a token gesture of the same kind. Stage management is also consistent with writing numerous letters of introduction that were carried by Leopold from Salzburg court that were presented to his hosts across western Europe as he and his children left Salzburg only a few weeks later. (Which occurred during Wolfgang’s 3 long tours to Italy from 1770 onwards also). We even know Leopold considered himself to be on missions that would increase the musical status of the Salzburg Hofkapelle during those travels since he says so in his letters). None of which prevented him describing himself as the Salzburg ‘Kapellmeister’ during the ‘Grand Tour’ and all others. (A habit often repeated by Wolfgang himself in his Vienna years (1781-1791). A nonsense which, in the case of Domenico Fischietta (1725-1810) no doubt brought a smile to that Italian’s face and to others of the musical establishment in Salzburg. Bringing to mind that famous proverb, ‘Like father, like son‘). Since, in both cases was a bending of truth that has been routinely downplayed and marginalised by Mozart biographers. Such is truly the stuff of Mozartean musicology.
It is my plan to balance criticisms of Mozartean convention by offering generous helpings of an all too familiar eulogy that has come to be known and believed as ‘Mozart biography‘. (So consumers of convention and those who casually read these pages will not be offended by our modern re-examination of the evidence). My justification for adopting such a ‘middle of the road approach’ includes the contents of a report written in Salzburg when the family finally returned there in late 1766 but which is little known to the public -
‘Today the world famous Leopold Mozart, Vice Kapellmeister here, with his wife and two children, a boy aged ten and his little daughter aged thirteen, have arrived to the solace of the whole town. These past two years nothing has been more frequently discussed in the newspapers than the wonderful art of the Mozart children; the two children; the boy as well as the girl both play the harpsichord, or the clavier, the girl, it is true, with more art and fluency than her little brother, but the boy with far more refinement, and with more original ideas, and with the most beautiful inspirations, so that even the most excellent organists wondered how it was humanly possible for such a boy, who was already so good an organist at age six, to possess such art as to astonish the whole world’.
//
(Beda Hubner - Librarian of St Peter’s Abbey, Salzburg - Diary Entry November 1766)
Huber was a keen Mozartean. Quoting him will find your approval - though Hubner had heard of Mozart’s achievements only from second hand information- mostly from small articles that had appeared in foreign newspapers - as he admits himself). He speaks of ‘two years’ in which the family were being ‘frequently discussed in the newspapers’. And in glowing terms of their musical abilities. Though both are contradicted by facts. First because the ‘tour’ had lasted not two years but almost three and a half. Which takes us back to November of 1764 when the family were on an extended visit to England. (Not leaving England till August of 1765). Thus, half of the tour seems to have had little newspaper coverage. Again, contrary to Hubner the number of newspaper articles that appeared on the Mozarts by that date (excluding those written for publicity by Leopold) was very small and the subject of the ‘Salzburg prodigies’ was not being ‘frequently discussed’ by the public. (The exception being the continued amazement of a large number of Salzburg residents ). Furthermore, the Mozarts had by late 1764 been touring western Europe for over a year before they arrived in England. Nor is there any record from Salzburg of great musical talent being demonstrated by Wolfgang or his elder sister before they set out in July of 1763 nor any during the two tours of Munich and Vienna of the year before. Nor is there record of the Mozarts giving concerts in Salzburg before taking these early tours. Nor any praise of their alleged musical abilities in Salzburg from those early years. Nor of that brother and sister learning music or composition under any recognised teacher. Nor any of them attending school. Nor did they (the Mozart family) own a keyboard at the time when they set out on that ‘Grand Tour‘. It was not until late 1764 (at the earliest) when a few citizens of Salzburg (including Hubner himself) read of any public/press reputation. He also exaggerates in saying ‘nothing has been more frequently discussed in the newspapers’ since, by 1766, the number of glowing reports were few. That’s a fact able to be confirmed by anyone who consults works such as O.E. Deutsch’s ‘Documentary Biography’ . A few foreign reports from anonymous advertisements had appeared in English and other foreign languages (most of them advertising placed in English newspapers by Leopold himself). Most dealing with the admission charges to different venues (their charge for attendance soon having to be halved in the case of their London stay etc.). The only notable exception being a report written from Leopold’s home town of Augsburg published in Salzburg during 1763 with Leopold’s input. (No doubt intended to answer rumours in Salzburg of where the Mozarts had gone to and whose details we read later. (Prompting smiles, no doubt, from the residents of Salzburg and its musicians).
You will not be surprised the residents of Salzburg had formed their own opinions on these amazing events, and especially in the light of the remarkable visits made by the family to Munich and Vienna the year before. Though their views are only rarely considered. (All must be presented as seamless in the Mozart myth). Here for example is a report written 24 years later, 1787, shortly after Leopold’s death which remained unpublished during Mozart’s life and for many more decades. That too is part of an introduction to our fair examination of the evidence. Written by a member of that family who were landlords of the Mozarts. The family Hagenauer. You will note that it refers to things which could not be denied - one of which was reaction to Leopold and the antics involved on these long tours that had long been the subject of derision and ridicule from the locals of Salzburg. Since we read -
"On Whit Monday the 28th, in the year 1787, early, died our Vice Kapellmeister Leopold Mozart, He was born at Augsburg and spent most of the days of his life in the service of the Court here, but had the misfortune of being always persecuted here and was not as much favoured by a long way as in other, larger places in Europe."
There is the story (invented by the family) that young Wolfgang prepared for that tour of 1763 by perfecting himself on the violin - without tuition ! A legend so absurd it is exceeded only by what his father later wrote on the subject - ‘my son could be the best violinist in Europe if only he put his mind to it’. Such is the stuff of Mozartean musicology !
This steadily accumulating pile of nonsense also reminds us of the opinion of Wolfgang towards residents of Salzburg written from Munich in 1779 -
‘You cannot believe what I suffered during the visit of Madame Robinig here. She personified everything I cannot bear about ‘Salzburg and its inhabitants. To me, their speech and their manners are intolerable’.
(W.A. Mozart, letter from late 1779 on meeting Maria Viktoria von Robinig, resident of Salzburg) -
We who grow up to believe in the indefinable ‘genius of Mozart’ may, on deeper reflection, see it as being nothing more than a transcendental escape from historical and musical reality which we are keen to ignore as inconvenient facts. We would much prefer to examine details of the ’Grand Tour’. So, before we do so, I refer only to a few more preliminary facts. The first being Leopold Mozart’s reputation for being the author of a violin treatise, ‘Violinschule’ (published in 1756) is itself based upon nonsense. Since that work relies heavily on an unpublished treatise of the same kind by Italian virtuoso Giuseppe Tartini (1692-1770). Providing (should we doubt it) indisputable examples of the senior Mozart’s plagiarism. But such is the stuff of Mozartean musicology.
Last, but not least, are details related to a key witness of those early weeks of the ‘Grand Tour. From the hired servant of the family named Sebastian Winter (1743-1815) who, aged 20, accompanied Leopold, Nannerl and Wolfgang from Salzburg as far as Paris, where they arrived (after many adventures and lots more fairy stories) around November of 1763. After which the Winter left their service. But not the life of Mozart.
Musicians in Salzburg, (and we must include 2nd violinists) did not employ male servants in 1763 or at any time in their history. Nor did they require personal hairdressers. They, the Salzburg musicians, were employed servants and liveried employees of the Hofkapelle. So was Mozart when he finally arrived in the Austrian capital in 1781 at the age of 26. (Servants of the Salzburg court were paid wages similar to those of its musicians and of servants themselves). Goodness knows how Sebastian Winter’s arrival in Salzburg was commented on by those residents in the months before the family left town). That too we can ignore. But Winter (not a resident of the city at the time of his arrival) was somehow employed by the Mozart family from around March of that year (months before Leopold was promoted) and months before they all left on a June Saturday evening for three and a half years of obscurity. The strangeness of which should not be seen, of course, as evidence for the manufacture of Mozart’s career, although it is surely consistent with it. Leopold, having arrived in Paris, then dispenses with Winter’s services in March 1764 and writes to Princess Furstenberg-Moskirch at Donaueschingen in the Black Forest. Giving the false impression that Winter has had no previous relation with Donaueschingen -
‘’We, Leopold Mozart, Music Director to his Serene Highness the Prince Archbishop of Salzburg, certify that Bastien Winter, hairdresser, has served us very faithfully for one year. He merits our recommendation because of his good qualities. Madame the Princess of Furstenberg-Moskirch, whom he would be honoured to serve, may rest assured that she is acquiring an excellent subject.
Paris, 2nd March 1764.’’
In reply to which is the fact that Sebastian Winter was a resident of Donaueschingen himself and was born there. What realistic chance is there for a musician to write to a Princess of the Holy Roman Empire offering the services of his servant to her/him ?
We may summarise as follows -
Winter began his service as a ‘servant/hairdresser’ under strange circumstances in faraway Salzburg in March 1763 and, one year later, after the letter of Leopold, he now found himself employed by aristocratic leaders of the court of the Prince and Princess of his home town of Furstenberg. Employed by a major prince of Germany. With Winter’s promotion being of such rapidity and size that it can only be compared with Leopold’s own. Leading us to conclude that Winter already had relations with Prince and Princess of Furstenberg before he came to work in Salzburg for the Mozarts. Servants did not move out of their local areas at this time in 18th century Europe.
But we are not finished yet. This ‘servant’ was to meet the family 3 years later in 1766 (near the end of the Grand Tour) when they stayed at the Furstenberg residence at Donaueschingen for no less than 12 days, (that is, during a visit to Prince Joseph Wenceslaus who ruled there between 1762 and 1783). And were met on their arrival by that same Sebastian Winter. (As letters of the Mozart family say).
And that’s not all. In 1786, (the year of ‘Le Nozze di Figaro’) and now aged 30, W.A. Mozart sent by post a written offer to sell performance rights of various keyboard concertos and chamber works which, he claims, he had composed to this same court of Donaueschingen. Remarkable enough except that another even more remarkable now occurs. Mozart’s letter to Donaueschingen is addressed to none other than the Herr Sebastian Winter who, over those 20 years, has miraculously risen to a position of such importance to the court of Donaueschingen he is able to consider Mozart’s postal offer to purchase what was being offered. And did so.
Which completes our preliminaries (since I would not wish to go on listing these simple, even basic discrepancies). The stage management of Mozart’s career is a plain fact that begs only description.
So let’s join the borrowed coach that is holding Leopold, Nannerl, Wolfgang and their servant Sebastian Winter parked outside their home which is about to leave Salzburg. It is the evening of Saturday 9th July 1763. Their first major destination on this tour is to be….. Munich. Again. Via Wasserburg, a town some 40 kms distant.
When the coach left Salzburg late in the afternoon/early evening of that day in 1763 their father Leopold knew and had known for a long time this third tour would abruptly end the childhoods of both his son and his daughter. He knew this perfectly well. So did his wife. So did their landlord Hagenauer. And so did Prince Archbishop Firmian. But it was not known to the general population of Salzburg. Such things would only cause ‘envy’, ‘misunderstanding’ and unwanted gossip. So they would slip away from the town as late as possible. There would be no loose talk in Salzburg of mammoth music tours. For a time. That subject would have been far too delicate. And especially after crazy reports of what occurred late the previous years in Vienna. Leopold would take care of such things.
Conventional biography ignores such things, though they are realities of that time. We hardly consider that at the moment of their departure, their mother, waving them goodbye, knew only too well their artistic and personal limitations, their innocence, their weaknesses, and knew long years would pass before she would see them again.
If you would defend the Mozart of biographical convention you will of course tend to overlook such things. You will be keen to focus on his alleged ‘genius’, his musical ‘abilities’ and to perpetuate, in fact, a 200 year old fairy story which has its own agenda and momentum which papers over the tragedy of those parting moments. From now own you prefer the version of Wolfgang’s life supplied by Leopold who has become your guide since he, you unthinkingly believe, is worthy of trust.
We wish to travel with them. That too would be convention. But let us resist that temptation. For a while. Let us watch instead as their borrowed coach moves away and slowly disappears while a mother waves and weeps for her children. Since the alternative would be to ignore a hundred, even a thousand major discrepancies of a musical and historical kind that belong and have always belonged to those same years.
(Shall we, with integrity, unquestionably consent to the monopoly of western music and culture that the Mozart paradigm (musically and biographically), represents ? It represents to me, as one who has examined the life and career of Mozart for many years and others also (many of whom are specialists in their own areas of research) an absurdity in virtually every way. Of course it does. Since the detailed examination of the Mozart legend shows it to be little more than a pastiche of clever and clumsy falsehoods of a musical and biographical kind, literally riddled with exaggerations, abuses and irrelevancies. One which amazes me (as it does other modern researchers) since grown men and women still subscribe to that Mozart myth wholesale - to the point where it virtually dominates their musical landscape. And if I and other others wrote nothing else critical of Mozart, if we were to examine the contents of no more diaries, maps, letters, musical scores or other evidence (in comparing fictions with facts) we already know that the years of 1762 and 1763 are the loudest, clearest indication that Mozart’s musical career was already in a process of being artificially manufactured. By patrons, friends, managers, and supporters. That it, as a selfish, dogmatic, contrived hoax (one which allows, even today, little criticism) and which was intended to create, within a few decades of Mozart’s death, a pantheon of ‘great’ composers. One of whom was the same Mozart. He, enshrined as a now immortalised member is result of our gullibility. The difference being, of course,that the onus is now on me and other colleagues to prove it was so. To do so beyond fair and reasonable doubt. While your part, dear reader, is to form your own verdict on the subject having considered the available evidence from both points of view. Any other way would be a violation of our integrity.
It remains my view that Mozart and Mozart studies represent and have always represented a counterfeit musicology, a monument to human gullibility, and have been, during the two centuries having dominated our musical and cultural landscape the end of musicology as we know it. By deception. Having deceived and neutralised our own ability to break free of it. At a cost far more than that of spreading our own ignorance. Since a body of studies such as musical history is greater than the myth of Mozart and can only exist, can only have integrity, where cross-examination and fair criticism of convention exist and are seen to exist. Music, certainly, deserves better than the Mozart myth). It is not possible to speak of the exploitation of Mozart and his sister in our modern times. Two unlearned, unschooled children left Salzburg on the most contrived, manipulated ‘musical’ tour of Europe with we, its modern consumers, hardly aware of the rift that it must have caused in that family. With them paraded around Europe for years. A fact admitted by even the most adoring of his biographers, Wolfgang Hildesheimer
‘The Mozart family traversed Europe for three and a half years like a family of acrobats. More respectable, of course, bound to the morality of their task, yet wanderers still, dependent on fortune and favour, on weather and health, on the benevolence of the great, whose privilege it was to determine or at least to influence destinies’.
(W. Hildesheimer, ’Mozart’ p.31)
And what of the Empress Maria Theresa of Austria who, as late as December 1771 (5 years after their return from this third tour) wrote to her son in Milan advising them as follows on the Mozart roadshow -
‘Do not get involved in riffraff like the Mozarts and others like them….They are useless people traversing the world like beggars. Besides, they have a large family’.
Maria Theresa was right. Their family is today global. It supporters are offended when their transcendental myth is questioned. And Maria Theresa knew well of what she was speaking (as we will see when we examine events surrounding Mozarts stay in Vienna during 1768).
But I digress. The Mozart roadshow is as much as we wish to learn of musical history as far as the later 18th century is concerned. Let us see over the next episodes from documentary and other evidence whether the legend survives cross-examination. It does not. It never has. And, as for the report written in Augsburg a few days later this appeared in the 19th July edition of the ‘Europaeische Zeitung’ (published at Salzburg under the heading of ‘Augsburg’) -
‘The day before yesterday, in the morning, the Deputy Kapellmeister to the court of Saltzburg, Herr Leopold Mozart, left here for Stuttgard with his two remarkable children, to continue his journey to France and England by way of the greatest courts in Germany. He afforded the inhabitants of his native city the pleasure of hearing the quite extraordinary gifts that God has bestowed on these two dear little children in such abundant measure, gifts of which the Herr Kapellmeister has, as a true father, taken such indefatigable care he is now able to present a musical girl of 11, and what is incredible, a boy of 7 on the harpsichord, as a marvel of both past and present. All connoisseurs have found that what a friend in Vienna wrote some time ago about these celebrated children and what appeared in the local ‘Intelligenz-Zettl’ is not only true (incredible though this seemed), but even more worthy of admiration’.
We will therefore trace their movements over those next 3 ½ years. Mozart the myth and Mozart the reality.
RN
Add Grimm's (etc) 1763 travel itinerary to your story to make it really interesting.
For instance:
May 26, 1763 François-Joseph Gossec (29) appears before a Parisian magistrate to recover scores by himself and others from the estate of the recently deceased La Pouplinière.
June 6, 1763 Christoph Willibald Gluck (48) and Carl Ditters (23) return to Vienna from Bologna where they produced Gluck’s Il trionfo di Clelia. Ditters immediately asks Count Durazzo for four weeks dispensation from playing a concerto in public. He has written several in Italy and wants to rehearse them.
See, white robed peace, an ode by William Boyce (51) to words of Mallet*, is performed for the first time,at St. James’ Park, London.
July 1, 1763 Johann Christian Bach (27) writes to Padre Giovanni Battista Martini (57) in Milan that although he intended to return to Italy, he will heed the request of the King and Queen that he remain. Bach will shortly be named music master to the queen.
Frédéric à la duchesse de Saxe-Gotha, Potsdam,
49. A LA MÊME.
Potsdam, 22 juillet 1763.
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
Marpurg... the Royal Prussian Lotteries, whose director he became in 1763, receiving the title of War Councillor. His son, Johann Friedrich Marpurg, who later became a celebrated violinist, was born in 1766.
51. A LA MÊME.
Sans-Souci, 7 août 1763.
Madame ma cousine,
.................................................. ........En vérité, M. Grimm, vous êtes un homme admirable; vous me faites le plus grand plaisir du monde, par vos rapsodies, de me procurer des lettres de ma chère duchesse, et, quoique je me soucie fort peu des finances du Roi Très-Chrétien, ni de toutes les sottises qui passent par la tête du peuple français, je reçois vos gazettes avec une satisfaction singulière. Ne vous en enorgueillissez pas, M. Grimm; c'est pour l'amour de l'enveloppe qui me les fait tenir. Voilà, madame, ce que je n'aurais pas eu le cœur de vous dire, mais ce que cependant je ne puis en aucune façon supprimer, parce que cela est très-vrai. Une demoiselle de Wangenheim, qui est attachée à ma sœur de Schwedt, et qui, avec toutes mes nièces et mes arrière-neveux, a été ici, peut m'en servir de témoin. On a bu, ma chère duchesse, à votre santé avec ce zèle que vous inspirez à vos dévots, et nous avons dit ce que je n'ose répéter par respect pour votre modestie. M. d'Alembert vous a admirée sur notre rapport
October 5, 1763 Augustus III, King of Poland, Friedrich August II Elector of Saxony dies of a stroke in Dresden. He is succeeded as Elector of Saxony by his son Friedrich Christian. The King’s death begins machinations between Prussia, Russia and Austria over control of Poland.
The Mozart family arrives in Brussels from Louvain. They will stay here for six weeks.
Heinrich , the son of Johann Moritz von Brühl, died at Dresden on 28 October 1763, having survived his master only for a few weeks. The new elector, Frederick Christian caused an inquiry to be held into his administration. His large gallery of pictures was bought by Empress Catherine II of Russia in 1768.
November 7, 1763 Wolfgang Amadeus Mozart (7) gives a concert before Prince Karl Alexander in Brussels.
November 15, 1763 After six weeks, the Mozart family leaves Brussels for Paris.
Jean-Frédéric-Henri baron de Cocceji, lieutenant-colonel et adjudant du Roi, nommé envoyé extraordinaire de Prusse à Stockholm le 17 novembre 1763.
Potsdam Komische Oper: 1.100 Tl. (November 1763).154Bemerkung: Die Zahlung bezieht sich auf das Engagement der Opera buffa-Truppe, bestehend aus Johann August und Armellina Koch, Filippo Sidotti,Francesco Paladini und Marianna Gheri (siehe oben). Bemerkung: Armellina Mattei hatte um 1760** Johann August Koch geheiratet.
Beide Sänger halfen gelegentlich in der großen Oper aus.42
November 18, 1763 The Mozart family reaches Paris where they are welcomed and housed by the Bavarian ambassador, Count van Eyck.
November 22, 1763 A Requiem in C by Johann Adolf Hasse (64) is performed for the first time, for Elector Friedrich August, in Dresden.
November 27, 1763 The wife of Archduke Joseph, Isabella of Parma, dies thus closing all the theaters in Vienna and postponing the premiere of revised version of Les pèlerins de la Mecque by Christoph Willibald Gluck (49).
December 6, 1763 Destateri, o miei fidi, a cantata by Franz Joseph Haydn (31) is performed for the first time, in Eisenstadt Castle for the name-day of his employer, Prince Nicholas Esterházy.
December 15, 1763 King George III grants Johann Christian Bach (28) a royal privilege for the publication of his works in Britain.
December 17, 1763 Friedrich Christian, Elector of Saxony dies of complications from smallpox and is succeded by his son Friedrich August III, age 13, who rules under regency.
Hennin exerçait les fonctions de Résident de France à Varsovie depuis le mois de décembre 1763; Herman Karl von Keyserlingk:Tsarina Catherine the Great of Russia ordered him to Poland in 1762/3 to arrange the successful election of yet an other Russian candidate to the Polish throne, Paniatowski. Franz Adam Veichtner, Sohn des Regensburger Geigenbauers Johann Georg Veichtner,(friend of Benda, Carl Friedrich Fasch and Carl Philipp Emanuel Bach), 1763 trat er in den Dienst des baltischen Grafen Hermann v. Keyserling, in dessen Gefolge er noch im selben Jahr nach St. Petersburg gelangte.
But you first have to discard falsities (such as -but not limited to-those above marked in red) to then make sense.
*The 'Rule Britania' Mallet, born David Malloch.
**For 'Mattei' ,her relations to Koch/Bach and a glimpse at 1764 see http://www.online-literature.com/for...=54106&page=15
Note -
Part 1B/7 of the 'Grand Tour' (1763-1766) will be available here within the next week. Exposing even more fictions, exaggerations and fantasy myths on the Salzburg 'genius' W.A. Mozart as he continues his stage managed 'musical' tour of western Europe. Assisted by members of the usual fraternities, occultist rulers, men in ''high places'', Herr Leopold Mozart, dozens of 'biographers', paid actors, and his loyal 'servant' Sebastian Winter of Donaueschingen.
Remember, 'Everything you've heard is true' - and that's 'official' ('Amadeus')
And, in the meantime, a musical divertimento -
JSB
Concerto BWV 1064/1
http://www.youtube.com/watch?v=SGNxF...eature=related
LOL !!
....and, as we are still in 1762-64, ie too early to detect young Amadeus's later 'falsity', the questions "who G(iovanni).S.Bach was?" or "who invented him and for what purpose?" must then* be answered:
'A concerto for oboe and violin attributed to “Bach” in Cat. Breitkopf,
Supplement 1 (1766), col. 248, is attributed to “G. S. Bach” in the
non-thematic catalogue of 1764 and, in a version for solo violin and
flute, to “Förster” (probably Christoph) in Cat. Breitkopf, part 2 (1762),
col. 62. Wq 135 is published in CPEB:CW, II/1.'Janet K. Page on CPEBach.
And of course "1763 war councelor Marpurg" -who had something to do with JSBach's 'creation'-must also be explained! http://en.wikipedia.org/wiki/Friedrich_Wilhelm_Marpurg
*After those questions in my previous (on CPEBach's 1763-4 whereabouts and Armellina Mattei/Koch-Bach) are dealt with.
Yanni,
You may be surprised to learn this thread is on W.A. Mozart . (It is not on JS Bach). At the present time we are dealing with the Mozart tour (which lasted almost 3 1/2 years) - between the summer of 1763 and late 1766.
Since you are interested in JS Bach (1685-1750) I would not wish to leave you disapppointed -
Cantata 70
Opening Chorus
http://www.youtube.com/watch?v=bON6vruJlug
Quote:
Originally Posted by yanni
This thread is yet another attempt to sterilise Mozart from his entourage-creators.Quote:
Originally Posted by Musicology
It follows in step the two centuries old tradition of hiding the mountain behind the molehill.
Yanni,
It is obvious you simply do not have the discipline or patience to say anything verifiable about W.A. Mozart and his career. You seen not to understand that criticism of such a cultural giant must rightly begin with a steady demonstration of what the facts really are and what the fictions are from Mozart's earliest years until the time of his death. (Only when this is done can we be justified in trying to show how this fairy story came to dominate western muisical 'history' as it does). Though, in this case, this can even be done after we have examined the year of 1770. By that time the evidence of stage managed Mozart will surely be so obvious that nobody can deny it. But these things (which require much study and detailed evidence for ordinary readers) seem beyond you to appreciate. It is being steadily shown that Mozart's career is and always was a contrived fairy story, constructed with the input of dozens, even hundreds of patrons, 'admirers', managers, editors, publishers and propagandists during his musical lifetime and beyond. So much for 'sanitising' Mozart ! (It makes me laugh, since the totality of this evidence is called 'The Manufacture of Mozart'). !!
You now know more than before of the first two musical 'tours' of Mozart (1762) to Munich and to Vienna. The same is true of Mozart's first tour to Italy of 1770. And of his fake admission to the Bologna Academy. And because of discussion of numerous other musical works that have been falsely attributed to him by publishers, biographers and media managers from that time. In actual fact, there is a mass of evidence (musical and other kinds) you have simply never seen on the years of his career in between. (And which few have seen also). The difference is we who are informing you are patient but you are in a hurry.
Perhaps we (unlike yourself) have the advantage of knowing the difference between JS Bach, Handel and Mozart. Since you, Yanni, believe (and have never been embarrassed to say) Handel and Bach were one and the same man. You have even done so here on a thread dedicated to W.A. Mozart ! And no amount of absurdity of the same kind stops you from doing similar things. So that any good of your posts is lost in your inability to give credit to others.
It seems you are happy to be heckler, a man of outbursts, of timelines, innuendos and of no real substance. Which is a pity.
I offer you a constructive suggestion - why not put together a few sentences (not 'timelines' or disjointed statements) and let us have a demonstration of your ability to say something useful about this subject of Mozart ?
In the meantime, please have the patience to learn from what has already been posted here. You will probably not read it anywhere else.
Thank You
Quote:
Originally Posted by yanni