Mozart in English

[yanni]

Another field of research for brave 'new age' brit musicologists is, imo, C.Burney's links (and re biographic contributions) to 'Gluck', whose best current online career- http://law-guy.com/classics/blog/?page_id=530: - is practicaly based on 'C.Burney's' thirty or so 'source' references (Gluck's Vienna period 1752-56 is understandably somewhat wanting in detail).

Here is an interesting abstract hinting at 'Charles Rousseau Burney's' double life as 'Gioachino Cocchi/Gluck/Rousseau'/Hennin etc' (ie 'Handel/Bach/Antonio Cocchi's' son):

Burney, writing with benefit of hindsight (BurneyH, ii, 844), remarked on one of the more striking numbers in Gluck’s first London opera, La caduta de’ giganti:

The following air [‘Sì, ben mio, sarò, se il vuoi’], for [Angelo Maria] Monticelli, is very original in symphony and accompaniments, which a little disturbed the voice-part in performance, I well remember, and Monticelli called it aria tedesca. His [Gluck's] contemporaries in Italy, at this time, seemed too much filed down; and he wanted the file, which when used afterwards in that country, made him one of the greatest composers of his time.

The passage is telling on several counts. Though said to be ‘original in symphony’, the piece was in fact a parody of an aria in the earlier opera Tigrane; the combination in Gluck of fervid imagination and frequent reliance on borrowing and parody (nearly always for an audience different from the original one) constitutes one of the most intriguing paradoxes of his career. The labelling of accompanimental complexities as ‘German’ was a commonplace in the later 18th century, being applied notably also to Jommelli during and after his Stuttgart years. Interestingly, Burney claims that it was in Italy that Gluck’s style was subject to ‘the file’, by which he presumably means experience in writing for the finest singers and the most discriminating opera seria audiences. It is clear that Gluck profited greatly from his contacts with numerous celebrated singers during his early career, in ways that will probably become better understood as modern interpreters recover the vocal and acting techniques of that era and study the careers of the artists in question. His debt to his teacher Sammartini is obvious not only from actual borrowings, but also from many similarities of manner, such as the exchange of motifs between the violin parts (e.g. in the sinfonia to Don Juan of 1761).

The most applauded number from Gluck’s London sojourn was the aria ‘Rasserena il mesto ciglio’ in Artamene, about which however Burney complained that its ‘motivo’, though grateful, was ‘too often repeated, being introduced seven times, which, there being a Da Capo, is multiplied to fourteen’ (BurneyH, ii, 845). (The criticism could be applied to any of a number of Gluck’s sentimental arias, such as the above-mentioned ‘Se il mio duol’ in Ipermestra.) More than a quarter of a century later, when Burney reminded Gluck of the fame of the aria, the composer responded with remarks which were meant to be flattering to the Englishman, but which also probably contained more than a grain of truth (see BurneyGN, i, 267–8):

He told me that he owed entirely to England the study of nature in his dramatic compositions … He … studied the English taste, and finding that plainness and simplicity had the greatest effect upon them, he has, ever since that time, endeavoured to write for the voice, more in the natural tones of the human affections and passions, than to flatter the lovers of deep science or difficult execution; and it may be remarked, that most of his airs in Orfeo are as plain and simple as English ballads …

The resemblances between Handel’s and Gluck’s styles are many, particularly in tender or pathetic airs, where one finds similar galant configurations of part-writing, and it has been demonstrated (Roberts, H1995) that Gluck’s acquaintance with the elder composer’s music (and even his borrowing from it) predated his stay in England. But the stylistic differences are rather more numerous (Gluck’s slower harmonic rhythm and greater reliance on accompaniments with drum basses, for example, and his more independent wind writing), owing to the simple fact that the composers were of different generations.

Burney did find it important to promote, after 1771, Gluck's early diagnosed 1745 London 'madness' via an alleged* letter from Metastasio to Farinelli he quotes:

The ‘Gluckian’ reform of opera owed much to the force of the composer’s personality, musical and otherwise – to his ‘fuoco meraviglioso, ma pazzo’, in Metastasio’s words (letter of 6 November 1751).

*Metastasio's letters have evidently been 'censored' -like everything else concerning this 'story'!

[Musicology]

In 1770 Rome experienced two visits from the Mozart family. The legends of that time including the 14 year old Wolfgang transcribing from memory a sacred mass of G. Allegri and his award later with papal approval of the Order of the Golden Spur. (Through papal Secretary Pallavicni). Here is the PDF on this issue representing the findings of modern musical and historical research on this story. With a further part to come on the Order of the Golden Spur, its status at the time and other material related to that award.

http://www.mediafire.com/?b82le76jzn2rih

'Prove all things and hold fast to that which is good'

Further chapters of the Mozart visit to Italy of 1770 follow soon.

JS Bach
Magnificat
Opening

http://www.youtube.com/watch?v=xYtSG...feature=fvwrel

[yanni]

Would this Duke of Egmont be John Perceval?http://en.wikipedia.org/wiki/John_Pe...Earl_of_Egmont
Propably Roman Catholic (Irish), why on earth would he have been excommunicated, especially in 1734?
He was, however, a 'Handel's opera fan' (Handel's operas, 1726-1741 by Winton Dean) and his Perceval title does connect him to the french "Caussin de Percevals" of my story!

The exact date and further details are needed on the 1734 Miserere concert in the Crown Tavern to see who (Galuppi or 'Handel' or perhaps 'Hasse')directed it and on what occasion! (August III, crowned King of Poland in May 1734. On 30 June 1734, a Russian army of 20,000 under Peter Lacy*, after proclaiming August III the Saxon at Warsaw, proceeded to besiege Stanisław at Danzig, where he was entrenched with his partisans (including the Primate and the French and Swedish ministers) to await the relief that had been promised by France. However, this royal Saxon conversion to Roman Catholicism explains why Bach the Lutheran, later appointed court composer to August III, wrote masses.)

Same for 1743 if you please!

Conclusion: 'Burney' is covering up his father's ('Handel') Miserere copy via 'Nissen's' manufactured "Mozart letters" (just as 'Hennin' manufactured his correspondence with Voltaire, 'Collini' his 'Sejourn' etc etc.)

Ta ta

*Irish general of the Russian army!






Stories of that kind had in fact already circulated in London as early as 1734. When in that year the Royal Society organized "a choral concert of the famous Miserere by Allegri in the Crown Tavern." To advertise it, they insisted, (but without providing proofs), it was a sacred composition "whose copy is prohibited under pain of excommunication, and it has been procured for the society of concerts by the Duke of Egmont." As the Duke of Egmont was not excommunicated for staging this London concert, this surely speaks for itself. And when in April 1743 (9 years later), the same work was performed again in London no one even referred to any story of excommunication. The fact is Allegri's Miserere was popular everywhere across Europe and it was (and always was) nonsense to speak of prohibiting it from being copied under threat of excommunication. If anything what was complained about tended to be the quality of its performances. "The Miserere" they said, "was the first work ever to be performed here by three very good voices, but fourteen who were really bad." Furthermore the Mozarts in 1770 already had access to these British musical sources during their stay in London in 1765 (see the chapter on Symphony K.16). They could also see its music if they wished to see a copy that had been made by and was still being held by Padre Martini in Bologna. (The very Franciscan who had let Burney copy it). Contrary to popular belief there were many copies of Allegri's Miserere already available in numerous music archives in Vienna, Germany and Portugal. Burney obtained access to it without difficulty and he did so in Rome also ! He even asked a papal singer for the score of a Miserere, who gave it to him. He was able to compare this work with other copies, which were asked from many different people. 14

[Musicology]

Yanni,

For the benefit of readers here I will post again the link to the PDF just completed. I hope you agree that it represents a detailed criticism of convention on this issue. A modern reply to the fairy story of Mozart in Italy 1770.

http://www.mediafire.com/?ti1hxeknllp8exv

And I will focus on that subject. So we can examine each aspect in the detail it deserves before we attempt to explain the means by which those things were done. So that we will not be diverted from the subject under examination. The life, career and actual achievements of W.A. Mozart.

Thank you for your understanding.

[yanni]

Examining Mozart's links to his manufacturer IS the only way to understand "the life, career and actual etc" of Mozart but it's apparently off limits for Mr Bianchini and his "translator-promoter-editor", both focusing exclusively on Mozart's diapers.

Thus, you waste an awfull amount of words and translator efforts to prove the obvious, that the whole 'Mozart story' is 'made up', and to focus next on Mozart's fake 'Allegri story', exhausting it 'scientifically' and 'musiclogicaly' but ommiting the fact there never was a '1770 Cardinal Pallavicini' http://en.wikipedia.org/wiki/Lazaro_Opizio_Pallavicino whose bypassed 'absence' would have made your own 'study' so much simpler!


'Firmian' and 'Count Pallavicini-Centurioni', cardinal Lazaro's distant nephew, are both aliases of your very own 'Charles-Rousseau-Burney', manufacturer of 'Casanova' (whom you quote as source, hah-hah) and 'Joseph Haydn' among others.

Same for 'Myslivecek' whose 'La Ninetti' was first performed at the Teatro Nuovo Pubblico in Bologna on 29 April 1770, a month after Mysliveček first made the acquaintance of Wolfgang Amadeus Mozart and his father Leopold the previous month in the same city.[1], one of the many reasons of Leopold's 'Italian tour'. And indeed 'Rome' still follows in step -and silence- which I find truly amazing!


http://en.wikipedia.org/wiki/Special...io_Pallavicino

Yanni,

.....And I will focus on that subject. So we can examine each aspect in the detail it deserves before we attempt to explain the means by which those things were done. So that we will not be diverted from the subject under examination. The life, career and actual achievements of W.A. Mozart.

Thank you for your understanding.

[Musicology]

Cardinal PALLAVICINO, Lazzaro Opizio (1719-1785)

Birth. October 30, 1719, Genoa.

Education. La Sapienza University, Rome (doctorate in utroque iure, both canon and civil law).

Early life. Referendary of the Supreme Tribunals of the Apostolic Signature of Justice and of Grace. Provincial governor of Marche Anconitana, November 8, 1751. Received the minor orders, February 17, 1754; subdiaconate, February 24, 1751; diaconate, March 10, 1754.

Priesthood. Ordained, March 19, 1754.

Episcopate. Elected titular archbishop of Lepanto, April 1, 1754. Consecrated, April 7, 1754, Rome, by Cardinal Federico Marcello Lante. Assistant at the Pontifical Throne, April 16, 1754. Nuncio in Naples, May 21, 1754. Nuncio in Spain, February 9, 1760.

Cardinalate. Created cardinal priest in the consistory of September 26, 1766. Legate in Bologna, December 1, 1766. Received the red hat and the title of Ss. Nereo ed Achilleo, June 20, 1768. Participated in the conclave of 1769, which elected Pope Clement XIII. Secretary of State, May 19, 1769 until his death. Participated in the conclave of 1774-1775, which elected Pope Pius VI. Camerlengo of the Sacred College of Cardinals, January 29, 1776 until February 17, 1777. Opted for the title of S. Pietro in Vincoli, December 14, 1778. Ambassador plenipotentiary to conclude the treaty with Venice, October 3, 1783.

Death. February 23, 1785, Rome. Exposed in the church of S. Maria sopra Minerva, Rome, where the funeral took place, and buried in the church of the hermit monks of S. Giovanni Battista, Rome, according to his will.

Bibliography. Del Re, Niccolò. La Curia romana : lineamenti storico giuridici. 4th ed. aggiornata ed accresciuta. Città del Vaticano : Libreria Editrice Vaticana, 1998, p. 89.

///

(Pallavacino was Secretary of State to the Papacy in 1770. As you see above. The surname can be spelled in different ways. This is not unusual at the time. I know one composer whose surname has more than 6 spellings).

Count Gian Luca Pallivacini was the host of the Mozarts during the time of their visit to Padre Martini in Bologna and his relative was the above Cardinal Count Lazzaro Opizio Pallavacini in Rome.

We will continue to focus on the actual life and the actual career of W.A. Mozart. Yanni can post what he likes. Preferably on Mozart because this thread is on Mozart. It is the 5th time he has been told about this.

http://www.mediafire.com/?ti1hxeknllp8exv

//

[yanni]

There was only one 'Cardinal Lazaro Pallavicini' who died 1680 and had a brother Stefano who died sometime later. No male descendants, their Rome palazzo then passed to their niece 'Rospigliosi' according to:

http://www.casinoaurorapallavicini.i...allavicini.htm Il cardinale Lazzaro, assicuratasi, così, la discendenza, ormai cagionevole di salute, ma carico di anni (78) e di benemerenze, chiudeva serenamente la sua vita terrena in Roma, nel 1680. Suo fratello Stefano lo doveva seguire nella tomba pochi anni dopo. La nipote Maria Camilla Rospigliosi, che negli ultimi anni della sua vita si dedicò più intensamente ad opere di beneficenza, stabilì per testamento che il rispettivo padre e zio fossero tumulati nella cappella gentilizia di San Francesco a Ripa in un unico sontuoso monumento funerario da erigersi a proprie spese. Maria Camilla spirò il 6 settembre 1710, e il duca di Zagarolo, Giovan Battista Rospigliosi, rispettoso della volontà della pia consorte, incaricò l'architetto Nicolò Michetti e lo scultore Giuseppe Mazzuoli di costruire sulla parete sinistra della cappella un monumento abbinato per il suocero Stefano Pallavicini e per il di lui fratello cardinale Lazzaro e di costruire sulla parete destra, un altro monumento analogo per la moglie Maria Camilla e per se stesso. Giovan Battista morì, ultimo dei quattro, il 13 luglio 1722.

Palazzo Pallavicini-Rospigliosi however never belonged to this cardinal* (who allegedly only built a galleria for his art collection (!) -propably originating from Florence-there at 'some uknown time'(!)) but was under french influence, belonging first to cardinal Mazarino passing then to the Mancini family, his heirs.

So the Vatican story looks fishy (the second cardinal Lazaro coming from Genoa and 'in the picture' as Referendary of the Supreme Tribunals of the Apostolic Signature of Justice and of Grace. Provincial governor of Marche Anconitana, November 8, 1751-see my 'Pierre Michel Hennin' fully empowered then by both France and Austria to act all over 'Italy') the more so when paralleled to Palais Pallavicini, Vienna, constructed 1784 (terrible year for anyone constructing his 'palais') by an unknown (architect?, owner?) 'Johann Friedrich Hetzendorf von Hohenberg'.

And Wikipedia's 'famiglia Pallavicini' has no real 'Genoa branch' among the seven or eight other branches described.

And there is this 'mix up' in Monsignor Del Re's "Pallavicini" marbles as per http://www2.fiu.edu/~mirandas/consistories-xviii.htm:

Note 1. Niccolò del Re, in his book Monsignor governatore di Roma (1972), indicates that Filippo Buondelmonte, governor of Rome and vice-camerlengo of the Holy Roman Church, died on June 19, 1741, alla vigilia of his promotion to the cardinalate.

Note 2. According to Suite de la Clef, ou Journal historique sur les matières du tems. Contenant quelques nouvelles de littérature, & autres remarques curieuses. LIV (Juillet 1743), 360, Pope Benedict XIV intended to promote Francesco Maria Pallavicini, titular archbishop of Naupactus (ie Lepanto) , to the cardinalate, but he declined and instead was named titular patriarch of Antioch. The source erroneously indicates that he was titular archbishop of Teba and nuncio in Florence, confusing him, as far as this posts, with Archbishop Lazzaro Pallavicini. The same information is provided by L'ami de la religion et du roi : journal ecclésiastique, politique et littéraire, C (1743), 20-21, in an article about cardinals dimissionary.


Julliet 1743, still marks the month and year of Rousseau's appointment as secretary to the French Embassy in Rome!!]

Add to all that "Cardinal Lazaro II's" correspondence with 'Firmian/Pallavicini-Centurioni'....

.....the conclusion is:

He was as 'fake' as they all (his aliases) were...but did control Rome too!

And what you do is you business, junior, until it becomes 'indecent exposure' one too many.



*The palace served as the French embassy in Rome prior before it moved to its more spacious current accommodation at the Palazzo Farnese(note by me: they moved there after 1911, see http://www.romanguide.com/renaissanc...o-farnese.html). In 1704, the palace became a property of the Rospigliosi-Pallavicini (!)family, who still own it and who enriched its decoration and completed its present art gallery.http://en.wikipedia.org/wiki/Palazzo...ni-Rospigliosi

Cardinal PALLAVICINO, Lazzaro Opizio (1719-1785)

Birth. October 30, 1719, Genoa.

Education. La Sapienza University, Rome (doctorate in utroque iure, both canon and civil law).

Early life. Referendary of the Supreme Tribunals of the Apostolic Signature of Justice and of Grace. Provincial governor of Marche Anconitana, November 8, 1751. Received the minor orders, February 17, 1754; subdiaconate, February 24, 1751; diaconate, March 10, 1754.

Priesthood. Ordained, March 19, 1754.

Episcopate. Elected titular archbishop of Lepanto, April 1, 1754. Consecrated, April 7, 1754, Rome, by Cardinal Federico Marcello Lante. Assistant at the Pontifical Throne, April 16, 1754. Nuncio in Naples, May 21, 1754. Nuncio in Spain, February 9, 1760.

Cardinalate. Created cardinal priest in the consistory of September 26, 1766. Legate in Bologna, December 1, 1766. Received the red hat and the title of Ss. Nereo ed Achilleo, June 20, 1768. Participated in the conclave of 1769, which elected Pope Clement XIII. Secretary of State, May 19, 1769 until his death. Participated in the conclave of 1774-1775, which elected Pope Pius VI. Camerlengo of the Sacred College of Cardinals, January 29, 1776 until February 17, 1777. Opted for the title of S. Pietro in Vincoli, December 14, 1778. Ambassador plenipotentiary to conclude the treaty with Venice, October 3, 1783.

Death. February 23, 1785, Rome. Exposed in the church of S. Maria sopra Minerva, Rome, where the funeral took place, and buried in the church of the hermit monks of S. Giovanni Battista, Rome, according to his will.

Bibliography. Del Re, Niccolò. La Curia romana : lineamenti storico giuridici. 4th ed. aggiornata ed accresciuta. Città del Vaticano : Libreria Editrice Vaticana, 1998, p. 89.

///

(Pallavacino was Secretary of State to the Papacy in 1770. As you see above. The surname can be spelled in different ways. This is not unusual at the time. I know one composer whose surname has more than 6 spellings).

Count Gian Luca Pallivacini was the host of the Mozarts during the time of their visit to Padre Martini in Bologna and his relative was the above Cardinal Count Lazzaro Opizio Pallavacini in Rome.

We will continue to focus on the actual life and the actual career of W.A. Mozart. Yanni can post what he likes. Preferably on Mozart because this thread is on Mozart. It is the 5th time he has been told about this.

http://www.mediafire.com/?ti1hxeknllp8exv

//

[Musicology]

Yanni,

So the Papal Secretary in Rome between May 1769 and February 1785 was who, exactly ? History says it was Pallavicini. Who was the Cardinal who was Ambassador Plenipotentiary for the Papacy at the Treaty of Venice in 1785 ? It was the same man. Who was the Cardinal who attended the papal conclaves of 1769 and 1774-5 in the name of Cardinal Pallavicini if it was not the same Cardinal Pallavicini ? But you, Yanni, are going to show us contrary evidence, aren't you ? Because everyone is tired of your allegations without presenting any real evidence. You are on a Mozart thread. Multiple personalities are not unheard of. But you must now present clear evidence. And I will continue to focus on the life and career of W.A. Mozart (1756-91).

Read this - one of hundreds of references.

http://books.google.co.uk/books?id=H...vicini&f=false

And here is another with many references -

http://www.archive.org/stream/histor...ge/90/mode/2up

Here is your chance to tell us.

[yanni]

Stick to your sticky sources, Junior!

Yanni,

So the Papal Secretary in Rome between May 1769 and February 1785 was who, exactly ? History says it was Pallavicini. Who was the Cardinal who was Ambassador Plenipotentiary for the Papacy at the Treaty of Venice in 1785 ? It was the same man. Who was the Cardinal who attended the papal conclaves of 1769 and 1774-5 in the name of Cardinal Pallavicini if it was not the same Cardinal Pallavicini ? But you, Yanni, are going to show us contrary evidence, aren't you ? Because everyone is tired of your allegations without presenting any real evidence. You are on a Mozart thread. Multiple personalities are not unheard of. But you must now present clear evidence. And I will continue to focus on the life and career of W.A. Mozart (1756-91).

Read this - one of hundreds of references.

http://books.google.co.uk/books?id=H...vicini&f=false

And here is another with many references -

http://www.archive.org/stream/histor...ge/90/mode/2up

Here is your chance to tell us.

[lellyvigni]

I think the pdf on the Miserere is amazing - there are many things I simply did not know. Mozart probably not even hearing it is one example ! Thanks for the link, Musicology. Why don't you sort all links on one page, maybe on the first message of the thread ? How did you start working with Luca Bianchini ?

Ligniville

Yanni,

For the benefit of readers here I will post again the link to the PDF just completed. I hope you agree that it represents a detailed criticism of convention on this issue. A modern reply to the fairy story of Mozart in Italy 1770.

http://www.mediafire.com/?ti1hxeknllp8exv

And I will focus on that subject. So we can examine each aspect in the detail it deserves before we attempt to explain the means by which those things were done. So that we will not be diverted from the subject under examination. The life, career and actual achievements of W.A. Mozart.

Thank you for your understanding.

[Musicology]

Letter signed by Cardinal Lazzaro Opizio Pallavicini (1719-1785), as Papal Secretary 20th June 1778 announcing the death of Voltaire. Mozart was in Paris at this time and also refers to it in his letter of 3rd July 1778.

Item 204 below -

http://www.bibliorare.com/pdf/cat-ve...-12-09-cat.pdf

[Musicology]

QUOTE OF THIS MOZART THREAD

''The career of '''Mozart" is of minor concern to me''

(Source - Yanni - Post No. 41)

Antidote - Try Something Else !

http://www.youtube.com/watch?v=hZ9qW...eature=related

[yanni]

When you* find serious sources on "Jean Jacques Rousseau's" appointment as secretary to the French ambassy in Venice, 1743 OR indeed on his alleged boss, the ambasssador 'Pierre Francois de Montaigu', 1743, call again.

They http://www.montaguemillennium.com/fa...777_pierre.htm don't know him but we do (know Handel'Amyand/Desaguliers''s relations to the Montagues) don't we?



*or Leo Damrosh http://en.wikipedia.org/wiki/Leo_Damrosch.

[Musicology]

Yanni,

When you are prepared to talk about the life and career of W.A. Mozart, call again. Otherwise you are once again on the wrong thread.

When you* find serious sources on "Jean Jacques Rousseau's" appointment as secretary to the French ambassy in Venise, 1743 OR indeed on his alleged boss, the ambasssador 'Pierre Francois de Montaigu', 1743, call again.

They http://www.montaguemillennium.com/fa...777_pierre.htm don't know him but we do (know Handel'Amyand/Desaguliers''s relations to the Montagues) don't we?



*or Leo Damrosh http://en.wikipedia.org/wiki/Leo_Damrosch.

[Themis]

So the Vatican story looks fishy (the second cardinal Lazaro coming from Genoa and 'in the picture' as Referendary of the Supreme Tribunals of the Apostolic Signature of Justice and of Grace. Provincial governor of Marche Anconitana, November 8, 1751-see my 'Pierre Michel Hennin' fully empowered then by both France and Austria to act all over 'Italy') the more so when paralleled to Palais Pallavicini, Vienna, constructed 1784 (terrible year for anyone constructing his 'palais') by an unknown (architect?, owner?) 'Johann Friedrich Hetzendorf von Hohenberg'.

Just a quick (off topic) note: Johann Ferdinand Hetzendorf von Hohenberg was an architect and by no means was he "unknown".