Mozart in English

[yanni]

Imo you shoud add "...'s diapers" to complete your sentence.

BTW Did the empress donate them along with Wolfie's suit in 1762?

The only understanding we need is why Yanni never posts on Mozart when this thread is clearly on W.A. Mozart.

[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')

Imo you shoud add "...'s diapers" to complete your sentence.

BTW Did the empress donate them along with Wolfie's suit in 1762?

[yanni]

Amazing shift of focus!


------------------------------------------------------------------------

No, we can't!

[Musicology]

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

[yanni]

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

[Musicology]

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 !!

[yanni]

....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.

[Musicology]

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

....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]

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.

This thread is yet another attempt to sterilise Mozart from his entourage-creators.

It follows in step the two centuries old tradition of hiding the mountain behind the molehill.

[Musicology]

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

This thread is yet another attempt to sterilise Mozart from his entourage-creators.

It follows in step the two centuries old tradition of hiding the mountain behind the molehill.

[yanni]

Save your mud and put up a 'works in progress' sign, Robert. We don't want another King William falling off his horse, do we?
http://en.wikipedia.org/wiki/Molehill

...and add the history of the Kotce/Cocceji/Koch theater in Prague(1739) to your pile/molehill of '18th century cultural myths'.

[Musicology]

Yanni,

This thread is on the transcendental life and career of W.A. Mozart (1756-1791). Notice number 10 (and still counting). The theatre of Prague has been a subject refered to earlier here, by me. (I recommend you to read the book of Dr Freeman of the USA on the early Sporke theatre of Prague. He being an American professor of music who has also written an excellent book on the life and career of Josef Myseliveck. And 1739 is 16 years (and 16 reminders ?) before the birth date of our W.A. Mozart. But it will form a part of the overall explanation at a later date. If you wish to write on that subject please do. Perhaps ending in the year of 1768 when the opera 'La Finta Semplice' was ghost written for the 12 year old Mozart who had been commissioned to compose that opera for Vienna by the Austrian Emperor and Empress (after he and his father had been laughed at as musical 'con men' in Vienna for weeks) and who was again laughed at when the 'newly composed' score of that 'Mozart opera' finally arrived in the Austrian capital for rehearsal - the scandal causing that commission be cancelled altogether ? The case taking 9 more months to 'investigate' at the expense of Austria though it drew no conclusions on what happened and the document disappeared! (In the usual jesuitical way. LOL !!). In fact, in charge of the resulting 'investigation' into what had happened was none other the younger cousin of the man who founded the Prague opera in 1739 to which you refer). Named Sporke. A relative who, by that date (1768) and by one of those countless Mozartean coincidences, was, you will be amazed to learn, already in charge of theatre administration in Vienna. Thus presiding over yet another example of the fake and ludicrous career of the iconic W.A. Mozart. With the same Sporke presiding over, in fact, the later adminstration of 'Mozart's' opera productions during Wolfgang's three Italian tours - from 1770 onwards. LOL ! Mozart was an 'inside job' !!! But don't tell the children !!!

Anyway - another hugely talented (and neglected) composer of the late baroque - please take your partners !!! LOL

Johann Friedrich Fasch (1688-1758)
Orchestral Suite No. 5
Minuet

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

'Everything you've heard is true - gulp -honest !'

Save your mud and put up a 'works in progress' sign, Robert. We don't want another King William falling off his horse, do we?
http://en.wikipedia.org/wiki/Molehill

...and add the history of the Kotce/Cocceji/Koch theater in Prague(1739) to your pile/molehill of '18th century cultural myths'.

[yanni]

The Prague theatre of the Estates, also called Nostitz (allegedly built by 'Count Nostitz Rieneck' in 1783 on his own vast property, in Prague center, 'adjacent' to the 1739 Kotce/Cocceji*/Kotzen/Koch** theater,demolished around 1781) where W. A. Mozart conducted the world premiere of his Don Giovanni 1787 hosted by Bondini (who shortly before staged Figaro's Nocces there).

Pity "count Nostitz's' biography is nowhere to be found. Neither is Bondini's!

Prague was under 'Carl Ludwig Cocceji/Kotce/Koch' at the time however!

Look under 'Mozart's diapers', Robert, and tell us what you now see!

*See Samuel Cocceji and his relations to Bohemia.
**See Heinrich Gottfried Koch and his first Prague performances in 1739.

[Musicology]

One day Yanni will learn to write an article. Instead of providing sound bites of disjointed information. We wish him well. He is trying.

The Prague theatre of the Estates, also called Nostitz (allegedly built by 'Count Nostitz Rieneck' in 1783 on his own vast property, in Prague center, 'adjacent' to the 1739 Kotce/Cocceji*/Kotzen/Koch** theater,demolished around 1781) where W. A. Mozart conducted the world premiere of his Don Giovanni 1787 hosted by Bondini (who shortly before staged Figaro's Nocces there).

Pity "count Nostitz's' biography is nowhere to be found. Neither is Bondini's!

Prague was under 'Carl Ludwig Cocceji/Kotce/Koch' at the time however!

Look under 'Mozart's diapers', Robert, and tell us what you now see!

*See Samuel Cocceji and his relations to Bohemia.
**See Heinrich Gottfried Koch and his first Prague performances in 1739.

[Mutatis-Mutandis]

One day Yanni will learn to write an article. Instead of providing sound bites of disjointed information. We wish him well. He is trying.

One day Musicology may learn not to be a snide, pompous jerk. Though, we doubt this will ever happen.