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After Mozart's diapers, Robert, you might as well start cleaning 'Burney's' Crotch*
Ta-ta.
*C. Burney(Wikipedia): In 1779 he wrote for the Royal Society an account of the young William Crotch, his next wunderkind, at the time aged five.
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Originally Posted by Musicology
Yes, Yanni
This is a good example. William Crotch (1775-1847) is certainly another example of Charles Burney and the 'Enlightenment' obssession with what soon became known as musical genius. The talents of Crotch were equally exaggerated from the start. Baron Knigge (a leader of the German llluminati) was involved in first publishing Charles Burney's Musical Tour book into the German language. The same Knigge who is credited with writing the first German libretto of the 'Mozart' opera 'Le Nozze di Figaro'. Whose association with the house of Hanover is, of course, merely coincidental.
Quote:
Originally Posted by yanni
Yes, just don't use bleach!
Ta-ta!
Quote:
Originally Posted by Musicology
Yanni,
No additives or artificial sweeteners !! And no bleach also.
J.S. Bach (1685-1750)
Fantasie
BWV 903/1
Masaaki Suzuki
http://www.youtube.com/watch?v=ZHtgL...eature=related
Handel/Bach died as Bernardo Tanucci, sometime after 1784.
Ta-ta!
Quote:
Originally Posted by Musicology
No, Yanni. I think you are on the wrong thread.
A number of other musical articles will shortly be posted here soon on Mozart's first Italian tour of 1770. From which readers can of course draw their own conclusions on the evidence presented.
Perhaps, but your performance in 'cleaner cleaning' history and musicology is so wonderfull, I just can't miss it!
Carry on, champ!
Earlier attempts to obtain a cleaner clean failed:Quote:
Originally Posted by Musicology
It took Hawkins 16 years to write A General History of the Science and Practice of Music which was published in 1776. Although this publication was somewhat respected, it soon was overshadowed, with the help of the likes such as Dr Callcott who composed a mockery song against Hawkins [2], by Charles Burney's General History of Music (1776-89). However, in years to come Hawkins's music history was considered to be superior to Burney's music history (compare the 1875 edition of Hawkins's work). Particularly, Burney's discourse on Handel and Bach was viewed as being inadequate [3].
:lol:
In the words of Charles McKay author of - 'Extraordinary Popular Delusions and the Madness of Crowds'
''In reading the history of nations, we find that, like individuals, they have their whims and their peculiarities; their seasons of excitement and recklessness, when they care not what they do. We find that whole communities suddenly fix their minds upon one object, and go mad in its pursuit; that millions of people become simultaneously
impressed with one delusion, and run after it, till their attention is caught by some new folly more captivating than the first. We see one nation suddenly seized, from its highest to its lowest members, with a fierce desire of military glory; another as suddenly becoming crazed upon a religious scruple, and neither of them recovering its senses
until it has shed rivers of blood and sowed a harvest of groans and tears, to be reaped by its posterity. At an early age in the annals of Europe its population lost their wits about the Sepulchre of Jesus, and crowded in frenzied multitudes to the Holy Land: another age went mad for fear of the Devil, and offered up hundreds of thousands of victims to the delusion of witchcraft. At another time, the many became crazed on the subject of the Philosopher's Stone, and committed follies till then unheard of in the pursuit. It was once thought a venial offence in very many countries of Europe to destroy an enemy by slow poison. Persons who would have revolted at the idea of stabbing a man to the heart, drugged his pottage without scruple. Ladies of gentle birth and manners caught the contagion of murder, until poisoning, under their auspices, became quite fashionable. Some delusions, though notorious to all the world, have subsisted for ages, flourishing as widely among civilized and polished nations as among the early barbarians with whom they originated, -- that of duelling, for instance, and the belief in omens and divination of the future, which seem to defy the progress of knowledge to eradicate entirely from the popular mind. Money, again, has often been a cause of the delusion of multitudes. Sober nations have all at once become desperate gamblers, and risked almost their existence upon the turn of a piece of paper.
To trace the history of the most prominent of these delusions is the object of the present pages. Men, it has been well said, think in herds; it will be seen that they go mad in herds, while they only recover their senses slowly, and one by one''.
The teacher and the student, having only their 'education', their curriculum, and their desire to socially and culturally conform, believe black is white (and vice versa) in respect of a cartoon figure who has been raised to inconic status and inflated to a point of absurdity. Despite point by point refutation of the myth it is not refuted by the evidence. Still dominating the musical and cultural landscape by the sheer scale of its bombast and eulogy. While the facts of the case, shown in plain view, remain beyond their reach and even their interest.
Do not blame Mozart. He governs the ment in matters of musical history. Which is his function within our 'civilization'. His very raison d'etre.
Hello, Yanni,
How many (musical) composing aliases did Cocchi have? I ask this in all sincerity.
ERS
Cocchi who?
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Originally Posted by ERS
Gioachino Cocchi.
Never cared to count really but you may do it yourself reading thru my threads.
The problem is he also had quite a few musicien brothers and that his father was using aliases too. It's not therefore easy to distinguish but guesstimating I'd say Antonio Cocchi used less than ten musical aliases whereas Gioachino and his brothers less than thirty.
The Mozarts and 1762 - Vienna
‘No-one familiar with the lives of Gluck, Haydn and Beethoven can fail to appreciate the part played by the aristocracy, in the best sense of the term, in the work of these composers. Mozart, too, was to enjoy such beneficence on his very first visit to Vienna’
(Abert - ‘Mozart’ p. 28)
I suppose as good a place as any to sketch the second musical ‘tour’ of Mozart (which took him, his sister and father to Vienna after they had visited Munich, and which began in late 1762) is to note that Counts Herberstein, Schlick and Palffy had already alerted the Viennese court and aristocracy by letter of the imminent arrival of the ''Mozart prodigies'', and it was not long after this that Leopold was invited to present himself and his two amazing children at the Palace of Schonbrunn on 13th October of that year. Their appearance being only the first of a series of brilliant successes in which ( Abert notes) ‘ their audience’s love of sensation played at least as important a part as any musical interest’’ - (This being one of the great understatements of western musical history, in fact !).
But the two Mozart children, no doubt ''starry eyed'' at their dazzling (even overwhelming) reception in the Austrian capital (and keen to have more of the same) were about to be feted even more by a string of other members of high Viennese aristocracy including Prince Hildburghausen, also Imperial Vice Chancellor Count Colloredo, and Bishop Esterhazy - all of whom invited them to visit their homes, with them invariably fetched by carriage and handsomely rewarded. Needless to say, the best young women of the city soon fell in love with the miraculous young Wolfgang, news of whose arrival appears to have travelled fast, (within the right circles, of course !). These miraculous events followed by their invitation to visit Pressburg from a family of Hungarian aristocrats. On return from where they were invited to attend a dinner given in honour of Field Marshal Daun by Countess Kinsky. And this before the Mozarts, (by this time acclimatised to their prodigious status) returned with adoration still ringing in their ears to their home town of Salzburg in early January 1763. With a string of invitations to attend other operas and dinners.
But that’s not all. Nor would I wish to diminish the scale of the 'Mozart Effect' on the Viennese of late 1762. Abert is only one biographer who is strangely silent about numerous other dignitaries met by the Mozarts in those same wonderful, champagne weeks. Including none other than the Emperor of Austria himself, also Chancellor Kaunitz and of course the newly arrived Ambassador of Russia (himself by coincidence to become a major patron of Mozart over the next 20 years) he being already a close friend of yet another future Mozart patron, the Paris based Baron Melchior Grimm. The Emperor of Japan was not present at these amazing festivities though eventually, he and his ancestors will have no doubt learned of the event. As for the young composer of the F Major minuet (KV2) it would be churlish to remind ourselves it was composed by Leopold Mozart. Or that, at this time (late 1762) the family did not own a keyboard. And, should we wish to criticise Nannerl and Wolfgang for not yet having attended school nor having studied composition or keyboard, these things are of course only incidental - lost in the fog of eulogy, hyperbole and officially downgraded by popular consent to irrelevant status.
But all of this had begun weeks before. From various letters and diary entries etc. we see the Mozarts travelled from Salzburg via Passau after leaving Salzburg, arriving there on 26th September. Where a concert (of some kind) is said to have been given at the home of Bishop Joseph Maria Count von Hohenstein. From where they travelled to Linz by river where they stayed at an inn. At which they are also said to have given a public concert 4 days later. Their first. Not advertised at the time (of course) but made more successful by the fortuitous assistance of none other than the family of the Governor of Upper Austria (Count Leopold Schlick).
Bringing to mind that famous saying of Oscar Wilde that -
‘ I have nothing to declare but my genius’.
Instead of shouting while beating Mozart's horse, Robert, why don't you try giving us details of some great unknowns of the Mozart family entourage, all related to England , like Cowper, Burney and their 1770 detailed whereabouts, for instance, as repeatedly asked?
Alternatively you could as well focus on the two Durazzo brothers whose Genoa history is still somewhat cloudy, with Count Giacomo Durazzo (or Johann Jacob or Giacomo Pier Francesco according to other sources), diplomat and man of theatre who allegedly was the brother of a famous-but with no wikibiography-doge of the republic of Genoa, Marcello Durazzo, from 1767 to 1769.
The doge’s son Giacomo Filippo Durazzo III (1719–1812) was the head of the wealthiest 18th century family in Genoa, Italy, and a notable naturalist and bibliophile etc etc but his mother Clelia Durazzo (1709–1782) was only ten when she gave birth to him. Giacomo Filippo was allegedly married to a Maddalena Pallavicini, hence the later alleged "Durazzo-Pallavicini" link.
Again, you could also try to establish links between 'Pierre-Michel Hennin', appointed in the foreign service of France on le 18 novembre1749 de M. de Puisieulx, ministre des Affaires étrangères, 'Durazzo Marchese (detto Conte) Giacomo Pier Francesco', Ministro Residente della Repubblica di Genova a Vienna dal 21-IX-1749 (data di presentazione delle Credenziali) al maggio del 1752 and 'Gian Luca Pallavicini' who (1749) organizza sulla spianata del Castello grandi concerti sinfonici all'aperto per grande orchestra con musiche di Sammartini , appointed governor of Milano, as from 26th September 1750.
Not to mention 'Carlo Giuseppe de Firmian' and his appointment with full authority by Francis I and Maria Teresa to Naples in 1752 OR 1753 and his eventual links to Ferdinando Galiani, Baron von Gleichen, Gluck etc
"They" all relate so much to Mozart, 1770 or 1762, 1763 etc etc to 1826 or so (Nissen's death), and more so to your own British Foreign Service department who surely have tons of documents on all these 'luminaries' of yours.
And, if 1762 is to be the next topic, you should at least include Gioachino Cocchi, Bricaire de La Dixmerie, Baron Stroganov, comte de Saint Germain, Rousseau, Gluck, Baron Dimsdale, Melchior Grimm, Nikolaus von Jacquin, Joseph Haydn, Frederic de Nicolay, Ludwig Heinrich Nicolay, Heinrich Gottfried Koch, Carl Ludwig Cocceji, Johann Friedrich Cocceji, Pietro Alessandro Guglielmi, Johann Adolf Hasse, Bernardo Tanucci, baron de Van Swieten; le président de Salaberry, Dupin de Francueil (26 April 1763 Paris) as well as all the above, in your detailed timeline as well.
Without it (detailed timeline) you are just producing gas.
Oh, include Florian Leopold Gassmann too, Burney's and Vanhal's 'friend'!
Ta-ta!
Yanni,
Since this thread is on W.A. Mozart, it may surprise you it focuses on W.A. Mozart and rarely refers to others. This is consistent with examining the actual subject of W.A. Mozart. I resist the temptation to be diverted from examining the facts surrounding his early public career by discussing the dozens of men (and their aliases) to whom you obviously wish to refer. And this remains true unless/until we have established the basic facts of W.A. Mozart and his real or supposed musical achievements.
I can produce a list of names 10 times longer than the one you have just posted. Which achieves nothing. So can anyone else. As for you and and those who may be dazzled by your ‘timelines’ (real or imagined) you always have the choice of starting separate threads on any subject.
As for who is ‘producing gas’, may I suggest you take some good advice and produce large volumes of this combustible form of energy on another thread. The alternative being to witness the facts and fictions of Mozart’s musical career. Starting with facts on these early public years. Only a small fraction of which you have read. Only then can we all agree there is a subject worthy of examining and can offer explanations for how it occurred. Expanding it to include the men to whom you have refered and others. There is no other way. Since there are two parts of examining a subject.
1. Proving that the subject is worthy of study. By detailed evidence.
2. Offering an explanation for it.
And the first stage is right here.
If you are unable to start a thread of your own please let me know and I will be very happy to help.