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Thread: The Manufacture of Mozart

  1. #271
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    Yanni,

    Thank you for offering us 'enlightenment' on the subject of education. May I remind you that primary school education in Europe was pioneered almost exclusively by the Reformers such as Martin Luther in Germany ? That it was Luther and others of his time who made it possible for ordinary children to go to school. An idea so good that it is due to them that all nations do the same today. In fact, nobody did more to achieve a huge improvement in general education than the protestants. At a time when the 'Holy Roman Empire' had always reserved education for its own elites and for a small number of its closest associates. And at a time when that Empire had created ignorant masses who were able to neither read nor write. In the 10th century (200 years after Rome and the papacy had virtually taken over all governments of western Europe) the average town of Europe contained serfs of the feudal system who were as ignorant as any who ever lived. Entire monasteries were filled with monks who still could not write. And who could hardly count from one to ten. The elite ruling classes of Europe read only Aristotle or dogmas from their Latin catechisms. The state of education was generally a disaster. And, even by the early 18th century the Jesuit strangelhold on education was so shameful that entire towns were complaining about useless standards of education in their schools, even in areas where the Jesuits were in total control of universities and colleges. Rousseau's 'Emile' was written for the education of these elite privileged families and has almost nothing to do with the education of European society as a whole. The same privileged families who, for centuries, had male members who knew little more than how to hunt deer, foxes, and rabbits and whose career aims were to learn Latin and to take part in crusades, horse riding events and religious pilgrimages. A society where the language of the ordinary people was still outlawed in schools. As in France and Germany. And where each and every textbook for students was vetted by the same Jesuit Order, who, by this time, were also the censors of Europe. Have you read any of the complaints against the Jesuit educational system from the mayors of Portugal, France, Germany, Italy and elsewhere in the late 16th and 17th centuries ? They will embarass you.

    Mozart never went to school. Ever. And when this absurd state of ignorance finally collapsed across Europe the embarrasment was that it had not been allowed to collapse before. Raised on a diet of superstitions, Mary worship, idols, and religious pilgrimages the population finally agreed that children should go to school. And realising they had to concoct a controlled system of education which has been called the 'enlightenment'. Meaning, in practice, fresh control of society through the very same elites. This time in the name of the Encyclopaedists of Paris and their fraternal supporters such as the Freemasons, the Rosicrucians, the Illuminatists, and the same (hidden) Jesuit control. This temporarily underground. With the British Empire now a product of the earlier Venetian commercial Empire. So that Rousseau and Voltaire (both of whom were closely associated with the same elites) would be presented as models of 'enlightenment' when, in actual fact, they part of the same roving theatre as Casanova, Cagliostro, and a hundred other actors of the 'Enlightenment'.

    The state of education in Germany was widely recognised to be far superior than virtually anywhere else in Europe. Why ? Because the ordinary boy or girl now had had access to school education for over two centuries. Except in areas where the same old sytem had influence. And because money spent on religious pilgrimages and the 'forgiveness of sins' was now being spent on primary education and on textbooks. In their own language.

    Rousseau, 'enlightened', indeed !!



    Quote Originally Posted by yanni View Post
    For your much needed enlightment Robert, I suggest you start with Rousseau’s “Emile”, a universally recognized "first european" study on the merits of education. If you chose to accompany your reading with some "music", here are some interesting sites:


    http://www.youtube.com/watch?v=89Buv...eature=related
    http://www.youtube.com/watch?v=KEdp5...eature=related
    http://www.youtube.com/watch?v=Ben4Axvd4mY.

    When you reach “Christophe de Beaumont, Roman Catholic Archbishop of Paris", call again!

    Other readers will soon find promised “Mozart in Paris”, 1777-1779 timeline, at…..
    http://www.online-literature.com/for...threadid=40910
    (A thread on Leroux’s opera phantom identity).

    Cheers!
    Last edited by Musicology; 01-16-2010 at 11:18 AM.

  2. #272
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    "Wherever Luther prevails, the cause of literature and learning is lost"

    Immortal Erasmus!

    Readers interested in Mozart meeting the opera phantom in Paris are advised to look at:
    http://www.online-literature.com/for...d.php?p=669725

    Cheers!
    Last edited by yanni; 01-16-2010 at 04:25 PM.

  3. #273
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    Yanni,

    Contrary to these lectures (for which I thank you) the truth is Voltaire, Rousseau and Locke were not special people. They were rather ordinary people who acted a role for their employers. All three were involved in the creation of the British Empire. Faithful stooges of the Venice party who had transfered their influence and assets to London since the time of Henry 8th of England. And who had effectively taken over England by 1700.

    In the case of John Locke, it was he who became the chief inventor of the idea of imposing a Bank of England on the nation in 1694. This Bank was not one you could turn to for financial help. It was a giant Venetian transfer of assets and philosophy to England. Within a few years it ran up massive debts to finance endless English involvement in European wars and loading new taxes on an already collapsing economy. The Bank's chief architect was none other than Venetian party leader in England, Charles Montagu, King William's new Chancellor of the Exchequer who later becam British Ambassador to Venice. This is the same Montagu who employed the occultist Isaac Newton to oversee the recoinage swindle in England by giving him the post at the Royal Mint. By 1697 Venetian control of England was almost total. And caught up in this corruption were the protestant merchants of England and Holland. The counter-reformation in practice. And this achieved through Venice. Unknown to most people. A Venice whose leaders had supported the creation of the Jesuit Order (which began the Counter-Reformation) from the very start with the help of Cardinal Contarini of Venice. By 1701 this emerging British Empire, now in the control of the Venetians and through the same John Locke was arguing that all the independent charters of the colonies should come under Royal dictatorship and to ban their manufacture of finished goods.

    As for Rousseau and Voltaire, both had careers closely associated with both Venice and England. The 'Enlightenment' has been presented to us a the 'secularisation' of Europe. In fact it was nothing of the kind. It was the same Counter-Reformation in a new phase. By 1717 Freemasonry was born in England. Its ideas had actually been transplanted from Venice. So that occultism would be spread widely across Europe to the emerging middle classes of Germany and elsewhere. The 'Enlightenment' would succeeed in England where Romanist theology had clearly failed for centuries. The 'Enlightenment' was simply another tactic in the counter-Reformation. Soon centred on the rising mercantile empire of the British. So that the monarchy of England even funded the reign of Maria Theresa in Austria and Germany (privately, of course).

    As historian Webster Tarpley wrote -

    'The shift of the Venetian party from the banks of the Adriatic to the banks of the River Thames became the main project of the world oligarchy over those centuries. The Venetian party knows that ideas are more powerful than guns, fleets, and bombs. In order to secure acceptance for their imperial ideas the Venetian party seeks to control the way that people think. If you can control the way people think, say the Venetians, you can control the way they react to events, no matter what those events may be. So it was vital for the Venetians to control science, culture and philosophy. But the truth is the Venetians were implacably hostile to scientific discovery. Since the days of their mentor Aristotle they have attempted to suffocate true discovery by using formalism and the fetishism of 'authoritative' professional opinion. They have created over the centuries a whole series of scientific frauds and hoaxes which have been elevated to the status of incontrovertible and unchallengeable authorities'.

    (Webster Tarpley - 'American Almanac' January 1996).

    I certainly don't agree with Tarpley on everything. But on these points he is right.

    Rousseau, Voltaire and Locke were all paid stooges of the occultist formation of Britain as an Empire. Supported over the centuries from Venice. A Venetian republic whose culture has never been part of Europe. Whose origins are, of course, found in Byzantium and other pagan centres of the east, beyond Europe. So that the slave traders of Venice eventually became the slave traders of the British Empire. The missing element in so much of 18th century 'history' is not the ongoing disgreements between Protestantism and Catholicism but the role of occultism as a factor in the Counter-Reformation.

    England became corrupted. From within. By the rise of its own greedy Empire. And by the oligarchs who were now in control of the nation.

    Regards



    Quote Originally Posted by yanni View Post
    For your much needed enlightment Robert, I suggest you start with Rousseau’s “Emile”, a universally recognized "first european" study on the merits of education. If you chose to accompany your reading with some "music", here are some interesting sites:


    http://www.youtube.com/watch?v=89Buv...eature=related
    http://www.youtube.com/watch?v=KEdp5...eature=related
    http://www.youtube.com/watch?v=Ben4Axvd4mY.

    When you reach “Christophe de Beaumont, Roman Catholic Archbishop of Paris", call again!

    Other readers will soon find promised “Mozart in Paris”, 1777-1779 timeline, at…..
    http://www.online-literature.com/for...threadid=40910
    (A thread on Leroux’s opera phantom identity).

    Cheers!

  4. #274
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    You may even chose to question Aristotle's relations to Democritus, greek Theogony or Adam and Eve but, if I were you, I would remain within the outline of this thread, ie "Mozart's manufacture".

    For instance, here is a relevant question for you:

    What was Piccinini relation with "Gluck", were they competitors, as music scholars want them to be, or was the former a subordinate of the latter throughout?

    Cheers!
    Last edited by yanni; 01-18-2010 at 03:38 AM.

  5. #275
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    Gluck was another invention of the 18th century music industry. For sure. This operatic 'debate' between Piccini and Gluck raged in Paris as 'cultural news' and prompted heated discussion between different lovers of music. It was falsely portrayed as a 'struggle' between French and Italian models in opera. Which filled the newspapers of the time and kept everyone who was interested in idle chatter interested. It was of course all 'stage managed'. People actually changed sides all the time in this 'debate'. The lyricism of Italian opera was indisputable. The introduction into French opera of many new diversions was, for sure, new. But the debate, such as it was, was always fuelled by the real arbiters of opera at that time. They considered French models in opera had to become the fashion. So this so-called 'debate' was no real debate. It was all stage managed with Piccini acting his role as being musically unable to reply to Gluck's operas and incompetent. French ideas thus became fashionable with the news of Piccini's supposed incompetence. (This was the plan from the start). French ideas soon became highly fashionable in the operatic world of Europe. These fashions were of course 'managed' from the start. By these arbiters of operatic fashion such as Count Durazzo, Baron Grimm and others themselves. In Vienna it was Durazzo who almost singlehandedly changed operatic and ballet fashions there to those of France. It had nothing to do with nationalism. It had everything to do with obtaining theatrical control across Europe of 'enlightenment' opera. And Durazzo (an Italian) knew this very well. Eventually nationalistic arguments meant nothing. In London Italian opera and French ballet (e.g. dancers such as Noverre) worked side by side.

    All these things supported the 'enlightenment' ideas of the Encyclopaedists who were themselves focused in Paris. Out of which, eventually, came Beaumarchais and 'Le Nozze di Figaro' etc. (An opera made famous in the Italian language, though it was originally a French play, of course).

    The 'enlightenment' virtually destroyed appreciation of Italian music. For decades. And Paris was portrayed as the very centre of operatic 'fashion'. Gluck was described as a 'genius'. When, in fact, he was always greatly assisted in his music by many others. The 'enlightenment' was designed to use national prejudices but to eventually transcend them. All under the control of the same people. The control of culture and fashion - vital weapons in the 'enlightenment'.


    Quote Originally Posted by yanni View Post
    You may even chose to question Aristotle's relations to Democritus, greek Theogony or Adam and Eve but, if I were you, I would remain within the outline of this thread, ie "Mozart's manufacture".

    For instance, here is a relevant question for you:

    What was Piccinini relation with "Gluck", were they competitors, as music scholars want them to be, or was the former a subordinate of the latter throughout?

    Cheers!
    Last edited by Musicology; 01-18-2010 at 01:46 PM.

  6. #276
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    Fiddlesticks!

    ....and you exhibit astonishing ignorance of elementary music history!

    "Gluck"-like"Rousseau", "Grimm", Chastellux" etc his other music aliases--laboured against "oldfashioned" french opera (Rameau) throughout his "french life", favouring italian opera instead (and likewise during his stay in Vienna, Prussia, England, Russia, Bohemia) and praising Gretry, later on, specifically for being able to translate italian libretti to french while maintaining Gluck's music-written originally for italian verse.

    Piccinini was an old associate who worked for him in Paris as from 1777 and so did J.C.Bach (and most other wellknown poets or composers of his time).

    While "Gluck's" worldwide political influence has gone unoticed till now by music "scholars", Leopold Mozart was obviously well aware of it and tried to exploit it, 1777-1778, as his letters to junior Wolfgand document!

    For the rest of the story of Mozart junior meeting the opera phantom see
    http://www.online-literature.com/for...d.php?p=669725

    Cheers!
    Last edited by yanni; 01-19-2010 at 12:38 AM.

  7. #277
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    Yanni,

    I am convinced your treatment of aliases is so convoluted it becomes almost meaningless. Instead of dealing with aliases by focusing on the person who used them they fly around like butterflies in your posts on the subject and nobody is any wiser. Merely claiming that everyone is an alias of everyone else only makes utter confusion and creates a problem which never existed before. Surely, the whole point is to simplify, to explain, and not to assume people care about a dozen aliases but about their single identity ?

    In short, it is not what you are saying that is wrong (since nobody has the remotest idea of who is actually who) but the way in which it is being said.

    Regards


    Quote Originally Posted by yanni View Post
    Fiddlesticks!

    ....and you exhibit astonishing ignorance of elementary music history!

    "Gluck"-like"Rousseau", "Grimm", Chastellux" etc his other music aliases--laboured against "oldfashioned" french opera (Rameau) throughout his "french life", favouring italian opera instead (and likewise during his stay in Vienna, Prussia, England, Russia, Bohemia) and praising Gretry, later on, specifically for being able to translate italian libretti to french while maintaining Gluck's music-written originally for italian verse.

    Piccinini was an old associate who worked for him in Paris as from 1777 and so did J.C.Bach (and most other wellknown poets or composers of his time).

    While "Gluck's" worldwide political influence has gone unoticed till now by music "scholars", Leopold Mozart was obviously well aware of it and tried to exploit it, 1777-1778, as his letters to junior Wolfgand document!

    For the rest of the story of Mozart junior meeting the opera phantom see
    http://www.online-literature.com/for...d.php?p=669725

    Cheers!

  8. #278
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    Answer just this then, if you are so confused:

    Fiddlesticks!

    ....and you exhibit astonishing ignorance of elementary music history!

    "Gluck"-***************************- laboured against "oldfashioned" french opera (Rameau) throughout his "french life", favouring italian opera instead (and likewise during his stay in Vienna, Prussia, England, Russia, Bohemia) and praising Gretry, later on, specifically for being able to translate italian libretti to french while maintaining Gluck's music-written originally for italian verse.

    Piccinini was an old associate who worked for him in Paris as from 1777 and so did J.C.Bach (and most other wellknown poets or composers of his time).

    While "Gluck's" worldwide political influence has gone unoticed till now by music "scholars", Leopold Mozart was obviously well aware of it and tried to exploit it, 1777-1778, as his letters to junior Wolfgand document!

    For the rest of the story of Mozart junior meeting the opera phantom see
    http://www.online-literature.com/for...d.php?p=669725

    Cheers!
    Last edited by yanni; 01-19-2010 at 04:48 AM. Reason: LOL!

  9. #279
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    Here, from Freemasonic publications of the late 18th century -

    Almost from the time of his arrival in Paris, pleading for an initiation received in America, Voltaire was affiliated with the famous Lodge of the "9 Sisters’’ at a time when we had no less than fifty musicians, mostly "Teachers' ... Among these were counted, including the son of the great Mondonville violinist, Nicolas Dalayrac Pierre Duni, authors famous comic operas, many violinists in the orchestra of the opera singers, so famous, like Lays or Rousseau, the Abbé Nicolas Roze, future professor and librarian of the Conservatoire, the oboist Salantin, creator of the French school of oboe, and many others. The most famous event in which all these talents were called upon to participate that was held November 28, 1778 at the initiation of Voltaire. (* * In 1777-8 Benjamin Franklin)

    ** The Director of Concerts of this Paris Freemasonic Lodge was a famous amateur, the slightly ridiculous, Baron de Bagge, but direction of the music was actually entrusted sometimes to Brother Piccini, the unsuccessful rival of Gluck, sometimes to Nicolas Capron, violinist at the Opera. This led, after Voltaire took the oath, to an extract of a beautiful symphony of Brother Guenin with which we choose to conclude our discussion''.

    //

    http://translate.google.com/translat...G1ACEWCENUK313

    //

    Nothing is ever what it seems in the 'history of music'. Especially in the case of Mozart and his contemporaries. As said, the Piccini controversy against Gluck was entirely 'stage managed'. By those controlling operatic fashions within the fraternities.

    ///

  10. #280
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    The use of aliases or pennames was extensively used by literature/music authors as well as Freemasons who had every reason to keep their truth to themselves!

    IE

    If you are ever to draw conclusions as to who "manufactured" Mozart you have to follow my research in detail instead of quoting fairy tales.

    Duni (Egidio Romualdo), 11 February 1708 Naples– 11 June 1775 Paris) has a great lot in common with Gioachino Cocchi (I have Duni in my "Cocchi alias candidate" list long time now), "their" works are practically identical, and so does "Baron de Bagge-Bach", ie Charles-Ernest Ennal http://www.torrentdownloads.net/torrent/18725 who, according to http://kosiv.info/ed/grove/Entries/S01761.htm, was born in Fockenhof, Kurland (hah-hah!!), 14 Feb 1722 and died Paris, 24 March 1791)

    The emphasis given on his "ridiculous nature" (possibly he used grimaces and violin clumsiness as disguise) is an unfitting cover (first ever confirmed by WAMozart) that does not explain however his patronage of Paris music and musiciens, or his own music, or his relations to the lodge of Les noeuf soeurs*(footnote), Ben Franklin, Mme de Brillon etc (while the specific site you mention fails to mention "Alexander S.Stroganov", "Chastellux" and "LaDixmerie", all aliases of Cocchi and high ranking members of the lodge).

    The fact that Bagge's only existing original portrait (as well as the engraving of manuals of his concerts dedicated to the King of Prussia-see Mercure de France, May 1st, 1784), is by Charles Nicholas Cochin*** (Ben Franklin's and Raynal's portraitist-and L'Encyclopedie's illustrator), then commanding painting and sculpture in France, speaks for itself but, if still in doubt...

    ....look for a german speaking "Brother Bagge", expert in string instruments, appearing in Salem, New York, July the 4th, 1780 ie while "Chastellux" was enjoying himslef in New York!
    See http://www.amis.org/publications/new.../34.2-2005.pdf.

    Also, to further cure your jesuit fixation, check out a book published in Paris 1777-8 or so by the title "Consultation pour le Baron et la Baronne de Bagge" that led to the author's- a lawyer-imprisonement after reactions by the Paris clergy, ie shortly before "Raynal's" book on Philosophy was burned.

    But now I'll have you complaining again on the list of aliases getting longer by the day thus making "the manufacturer riddle" impossible to solve, huh?

    So let's forget about them and stick to "Gluck", taking my interpretation re his relations to Piccinini for granted (as the exact opposite to the masonic diversifying myth below: "Brother Piccini, the unsuccessful rival of Gluck").

    BTW another fact the good site conceals is that "financiers" outnumbered musiciens in Les Noeuf soeurs (by a ratio 70:50, if my memory still holds good** after over two centuries, heh-heh!)

    * "G" (from Guess who) founded this lodge in 1771!!

    ***Actually by his pupil, Simon-Charles Miger, drawn propably around 1792.

    **My memory failed me in fact: Financiers, among them undoubtably "G", were a majority in the lodge "Les Amis reunis" -founded 1771 by Savalette de Langes(1747-1797)- that moved to Paris in 1773.

    Quote Originally Posted by Musicology View Post
    Here, from Freemasonic publications of the late 18th century -

    Almost from the time of his arrival in Paris, pleading for an initiation received in America, Voltaire was affiliated with the famous Lodge of the "9 Sisters’’ at a time when we had no less than fifty musicians, mostly "Teachers' ... Among these were counted, including the son of the great Mondonville violinist, Nicolas Dalayrac Pierre Duni, authors famous comic operas, many violinists in the orchestra of the opera singers, so famous, like Lays or Rousseau, the Abbé Nicolas Roze, future professor and librarian of the Conservatoire, the oboist Salantin, creator of the French school of oboe, and many others. The most famous event in which all these talents were called upon to participate that was held November 28, 1778 at the initiation of Voltaire. (* * In 1777-8 Benjamin Franklin)

    ** The Director of Concerts of this Paris Freemasonic Lodge was a famous amateur, the slightly ridiculous, Baron de Bagge, but direction of the music was actually entrusted sometimes to Brother Piccini, the unsuccessful rival of Gluck, sometimes to Nicolas Capron, violinist at the Opera. This led, after Voltaire took the oath, to an extract of a beautiful symphony of Brother Guenin with which we choose to conclude our discussion''.

    //

    http://translate.google.com/translat...G1ACEWCENUK313

    //

    Nothing is ever what it seems in the 'history of music'. Especially in the case of Mozart and his contemporaries. As said, the Piccini controversy against Gluck was entirely 'stage managed'. By those controlling operatic fashions within the fraternities.

    ///
    Last edited by yanni; 01-23-2010 at 05:37 AM.

  11. #281
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    CORRECTION....

    Of a previous statement made by yourstruly in this thread re nonexisisting Music History timelines that include political milestones (to allow reader establish correlations between the two, art and "money").

    At http://sfrang.com/selides/Mozart/1756.htm the reader may find such a timeline specificaly written for Mozart's (and his manufacturer) era!

    In greek.

    Cheers!
    Last edited by yanni; 01-20-2010 at 12:33 PM.

  12. #282
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    Yanni,

    I have a very good idea who wrote most of 'Mozart's' music and it was not one person. In fact, if you have studied this subject in any detail you will know we are talking of more than 700 works. Concertos, sonatas, masses, symphonies, operas etc etc. Stretching over almost 30 years of Mozart's life and beyond. I have spent years examining individual works and am not 'guessing'. Nor do I need fairy stories. The role of Freemasonry is obvious. But so too the role of the Rosicrucians, the Illuminatists, the elite kings and aristocracy of Europe (i.e. the Holy Roman Empire) and beyond. The leaders of 'Enlightenment' society, in fact. This is not puzzling me at all. In fact, it is rather simple. The fairy stories are the standard biographies. As any honest person can see. These different elements converged. And realising this fact makes it more simple.

    We do not live in an age where we need to mystify anything. We need instead to clarify and to expose. That's the difference.

    As for the Freemasons knowing these things, fine. Two hundred years later we've arrived at a point where honesty and straight talking is enough. The Jesuit 'counter reformation' included control of these fraternities. As we see here in the career of Mozart. One of many examples.

    These things were, in one sense, extremely complex. They consist of examining fragments and carefully piecing them together. Until the case gets stronger and tends to solve itself. Most of them hidden, deliberately obscured, suppressed etc. But, in another sense, these things are simple and are able to be showed beyond all reasonable doubt. I choose simplicity.
    Last edited by Musicology; 01-20-2010 at 04:17 PM.

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    Last edited by Musicology; 01-20-2010 at 05:30 PM.

  14. #284
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    Besides Idefix, who doesn't count, the only one who isn't getting "any wiser" is you!

    Put your "Baron de Bagge" in the texts below....

    A combined Franco-American force fought to drive them (Brits) off of Aquidneck Island. Portsmouth was the site of the first African American military unit, the 1st Rhode Island Regiment, to fight for the U.S. in the Battle of Rhode Island August 29, 1778. The arrival of a far superior French fleet forced the British to scuttle their own ships, rather than surrender them to the French. The celebrated march of 1781 to Yorktown, Virginia that ended with the defeat of the British at the Siege of Yorktown and the Battle of the Chesapeake began in Newport, Rhode Island under the joint command of General George Washington who led American soldiers and the Comte de Rochambeau who led French soldiers sent by King Louis XVI. These allied forces spent one year in Providence, Rhode Island, including at Brown University's University Hall, preparing for an opportune moment to begin their decisive march. Several patriots residing in Rhode Island were involved in the American Revolution, including Royal Governor Samuel Ward, Royal Governor and first Brown University Chancellor Stephen Hopkins, the Reverend James Manning, General James Mitchell Varnum, John Brown, Dr. Solomon Drowne, Yale College president Ezra Stiles and first United States Senator from Rhode Island Theodore Foster.


    In 1774, Dr. Manning reportedly presented an argument in favor of religious freedom in an address at Carpenter's Hall to leading figures from Massachusetts, New Jersey, Pennsylvania and other colonies:

    It has been said by a celebrated writer in politics, that but two things are worth contending for--Religion and Liberty. For the latter we are at present nobly exerting ourselves through all this extensive continent; and surely no one whose bosom feels the patriotic glow in behalf of civil liberty can remain torpid to the more ennobling flame of RELIGIOUS FREEDOM.

    In the course of the American Revolution, Manning was serving as president of Brown in 1780 when French troops under the command of the Comte de Rochambeau, who led troops sent by King Louis XVI of France, landed in Newport, Rhode Island to aid American troops under the command of General George Washington in the American Revolutionary War. These allied troops were based in Rhode Island for a year before they embarked on a 600-mile (970 km) march in 1781 from Rhode Island to Virginia, where they fought and defeated British forces sent by King George III of the United Kingdom on the Yorktown, Virginia peninsula in the Siege of Yorktown and the Battle of the Chesapeake. During the year of preparation in Rhode Island and under the tenure of James Manning, the Brown campus was turned into an encampment site for soldiers, and the College Edifice at Brown (later renamed University Hall) was converted into a military hospital.
    (Wikipedia)


    ...and keep on then reciting your tune to eternity, what do I care for your "Jesuit" fixation?

    Truth seeking readers may, however, place "chevalier or marquis de Chastellux"'s (same man as "Brother Bagge", both aliases of Gioachino Cocchi, ie "Le comte de Saint Germain") contribution to the American War for Independence (during the am "march to Yorktown" in particular) in above timeline, such as ....

    June 1781: Chastellux tricks the brits into believing the attack would be against New York (http://www.hudsonrivervalley.net/AME...OOK/PDF/R4.pdf

    About the middle of August, General Washington was induced to make a total change of the plan of the campaign....the arrival of a reinforcement of three thousand Germans from Europe to New York, the strength of the garrison of that city, and especially intelligence from Count de Grasse that his destination was fixed to the Chesapeake, determined the general to direct the operations of the combined arms against Lord Cornwallis.

    Having resolved to lead the expedition in person, he committed the defence of the posts on Hudson's River to Major-General Health, and proceeded on the grand enterprise. While, with consummate address, he kept up the appearance of an intention to attack New York, the allied army, amounting collectively to twelve thousand men, crossed the North River, and passed on by the way of Philadelphia to Yorktown. General Washington and Count Rochambeau reached Williamsburg on the 14th of September, and, with Generals Chastellux, Du Portail, and Knox, visited Count de Grasse on board his ship and agreed on a plan of operations.


    .....etc, and draw their own conclusions, while ....

    ....praising him for his choice for Royal Chamber Music: http://www.youtube.com/watch?v=CrOQw...eature=related...

    .....or trying their best to understand him through: http://www.youtube.com/watch?v=JpjVF...eature=related.
    Last edited by yanni; 01-21-2010 at 12:19 PM.

  15. #285
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    ...and, btw, you'll nodoubt be pleased to learn,Robert, that I have today removed François-Joseph Gossé (he later changed it to "Gossec" to distinguish from "Causse"-"Cochin") from my list of tentative aliases to now place him firmly and surely among the definite aliases of Cocchi (=Cochin-Caussin in France) -"comte de Saint Germain".

    The riddles of the very peculiar (and much debated then and perhaps today) story of Gossec's "cooperation with "Gluck".....

    see http://philidor.cmbv.fr/jlbweb/jlbWe...92.pdf&ext=pdf

    ...and of course with Mozart (and the provenance of his -very curious for his age-five violin symphonies), have just been solved.

    Needless to say "Gossec's" data perfectly fit my mastertimeline.

    You were saying?

    Enjoy!

    http://www.youtube.com/watch?v=foIiP...eature=related
    Last edited by yanni; 01-21-2010 at 02:41 PM.

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