The Manufacture of Mozart

[Musicology]

Here are some musical publications of G. Cocchi at the British Library from that decade (1770-1780), published in London -

1. 'Duettini 12 per canto'. G. Cocchi
London : Printed by Welcker, [c. 1770].

2. Miller, Edward, 1735-1807 - 'Institutes of Music, or easy Instructions for the Harpsichord' ... To which are added ... Lessons for Practice, etc.
Published in London : Longman and Broderip, [1771]
Containing compositions by Miller, Rameau, Corelli, Handel, Stamitz, Agrell, Van Maldere, Lully, Avison, Burton, Edelmann, Dietz, Paradies, Just, Arne, [J. C.] Bach, Vanhall, Cocchi, Shroeter, Schobert and the King of Prussia.

3. 'Le Delizie dell’Opere'. Being a Collection of all the Favourite Songs in Score, collected from the Operas compos’d by Bach, Perez, Cocchi, Ciampi, Jomelli, Giardini, Galuppi, Vinci, Pergolesi, Leo, Lampugnani, Terradellas, Hasse, Porpora, C. St Germain, Pescetti, Veracini, Bononcini.
Publisher/year London : Printed for I. Walsh, [1776]

4. 'The Maid of the Mill' - for the Voice, Harpsichord, or Violin. [The words by I. Bickerstaffe.] London : R. Bremner, [1770?] - The composers named in this pasticcio are: the Earl of Kelly, Rinaldo di Capua, Abos, the Elector of Saxony, Ciampi, Laschi and Philidor, Picini, Gallupi, Pergolese, Monsignier, Vinci, Scarlatti, Arnold, Cocchi, Bach, Hasse, Duny, Giardini, Jomelli and Martini.

You will surely agree from these publications that even during the 1770's G. Cocchi, composer, had association with the musical scene in London. (As he had for decades before this).

Rgds

[yanni]

"I do not know Cocchi's whereabouts in 1778 although I know for sure from around early 1772 he was based again in Venice."

Assuming your "certainty" is based on your own- or your silent italian associates- research , do supply evidence of Cocchi's continuous Napoli presence after 1772 by all means!

Personaly I don't have a single trustworthy reference documenting the presence of Cocchi or any of his aliases in Napoli, 1772.

Cheers.

[Musicology]

Yanni,

I might also add the publication by G. Cocchi, in London, of 6 Quintets also published, c1780.

In answer to your question of proof that Cocchi was based in Venice from the time he returned there from Venice (1772), I have the following -

About 1772 Cocchi, now well off, returned to Venice. He did not (as already said) resume his musical post at the Incurabili. That was now held by Galuppi until that hospital’s reorganization in 1776, when the musical staff were dismissed. The choir, however, continued its concerts, and Cocchi still wrote for it in 1784. He is said by Piero Wiess (who wrote the article on Cocchi for the 'Grove Dictionary of Music and Musicians') to have composed a Requiem Mass for his wife in 1786 as requested in her will, and there is a manuscript 'Dixit Dominus' (A-Wn 19084) dated 1788. An inscription marks the place in the church of S Giovanni Grisostomo in Venice where he and his wife are buried, close to the theatre where he made his Venetian début.

And I've suggested he travelled after returning to Venice in 1772. But, for sure, from that time onwards, (1772) his musical works (or, works attributed to him) are far fewer. There is no new opera, for example. Depite this, during the 1770's his influence in England as a composer was still real as we see from those London publications.

This is the same G. Cocchi whom Leopold and Wolfgang Mozart met on their stay in London in 1764/5.


//

[yanni]

Your "evidence" compares to Rousseau's own Confessions, hah-hah!

Any music historian or musicologist who cares to examine Cocchi's lame "biography" (Grove, huh?) or timetable of works can but wonder why and how this hugely productive (his repertorio a mystery by itself) composer suddenly stopped producing operas in 1762(he had two staged in London 1762, not 1772 as you write) to withdraw in silence in Naples (almost simultaneously to Gluck's rising "reformist" star eversince).

BTW Philidor (Rousseau's associate and/or copyist!!!) appears in London 1772 and you do have evidence of his permanent settlement there , don't you?

My respect to the science of musicology is growing by the minute!

Cheers!

[Musicology]

Yanni,

Unless you have evidence to the contrary isn't it worth accepting what we have ?

As far as Cocchi is concerned, you may be interested to know of the career of another composer of that same name. Probably an ancestor of G. Cocchi and related in a number of ways to the circle that was around Mozart in the century later.

Claudio Cocchi (b. late 16th century in Genoa, d. after 1631). Who was a Franciscan who worked in 3 countries during a short space of time. In 1626 he became (and this is where it gets interesting) Chaplain and Kapellmeister to Cardinal Franz Dietrichstein, Bishop of Olomouc and Governor of Moravia. A patron of Italian style music. He was also employed at Trieste Cathedral and superintedant of the monastery there. His masses were published at Venice. And in Milan.

Mozart and his father visited and stayed in this same town of Olomouc (1767) when he was a boy of 11 (almost 12) although, in fact, the official story of his visit was he was escaping from an epidemic in Vienna. They stayed for weeks in this area including Brno. Olomouc was a part of the musical/cultural network into which Mozart's career was invented. This I will show in some detail in the book. But of course, demonstrating his 'genius' there, of course !!! (LOL).

It seems to me your interest in Cocchi should include the life of Claudio Cocchi, whose employment, whose role in music, is worthy of your attention. As for linking G. Cocchi with Gluck etc, and your aliases of various others, this too is interesting but it really lacks any firm evidence. So I will continue to believe in G. Cocchi, composer, and in the earlier Claudio Cocchi. And perhaps you can discover if these two musicians were of the same family. Which I think is very probable. Even consisting of the fact they both had links with Venice.

I don't know if I can help further in Cocchi from a Mozart point of view, except to hope you will acknowledge G. Cocchi, composer, was based for years in England, and was there at the time of Mozart's arrival, was also closely associated with the Venetian occultism and its fraternities which were then so popular within many branches of the English aristocracy.

And since you yourself are talking of Shelburne (himself associated with the British East India Company) we keep coming back to the fact that the British Empire were deeply involved in the art and culture of that century and beyond through these fraternities.

Philidor may be more interesting for your thesis.

Regards

[Musicology]

Bishop Maximilian Reichsgraf von Hamilton (1761 – 1776). Of Olomouc. Bishop of Olomouc at the time of Mozart’s visit there in 1767, you understand ? The place where, a century earlier, Sig. Cocchi had been Kapellmeister. That name, Hamilton, is not especially Bohemian, or German, is it ?

And not forgetting, of course, Sir William Hamilton (1730-1803) who entertained the boy Mozart and his father during their Italian visit, to Naples, at the time he, Hamilton, was British Ambassador there. Sheer coincidence, of course ! Why, the English 'composition pupil' of Mozart in Vienna would confirm this ! Mr Attwood (whose own family were of course, aristocrats dating back to the papally approved invasion of England in 1066). Just a coincidence, of course.

To say nothing of the British Ambassador to Vienna during Mozart’s final decade. Sir Robert Murray Keith (1730-1795)

The career of Mozart, as said, involved the British Empire. Who were deeply associated (through the fraternities and their huge trading empire) with events in European culture and music. The later Cocchi 'befriending' the Mozart's in London. (Because G. Cocchi was already on Leopold Mozart's list of people to see in London).

As Mozart said himself, 'I am an arch-Englishman'. Which may partly explain the donation to the British Library of 'Mozart's musical catalogue' there. (That is, the list of 'his' works begun in 1784 up to 1791).

LOL !

[yanni]

"What we have" is a series of myths covering the true creation of the current "system" with "Rousseau" (and his "corner cutting" philosophy) holding hands with "Le comte de Saint Germain" and all other aliases* of Cocchi in their center and everybody else covering up in harmony eversince.

"What we have" is my many unanswered letters to various italian and french "sources" (I would add "british" and "dutch" as well but they did answer back, only to stop corresponding later on realising the size of "THE story") and my subsequent and direct online reference and finger pointing at various "Cocchi-Cochin" names, around the world, equally unanswered as well, their descendants included.

"What we have" is NOTHING AT ALL or rather a "manufactured truth" much larger than "midget" Mozart on whom you select to focus, to isolate and protect, thus sanitizing the rest of the "big lie" to be then administered along with your convenient "hang it on the dearly departed" theories.

I need no further evidence, my well documented "theory" has already solved your "puzzle" to the letter (including Mozart's "Nissen" alias" AND his "cooperation"-he was faking it to cover Saint Germain/Bache- starting 1784 as below) and it really makes no difference to me if you dispute it to perpetuate your unfinished "poem" to eternity. (There are two "pillars" supporting western culture, remember?)

It's your own deliberate choice!

Claudio Cocchi and his links to both Genoa and Brno btw is indeed an interesting bit of info that fits the Cocchi huge family tree very nicely. (It confirms in fact the "Cocchi" roots of an italian genealogist friend from Livorno-with Brno ancestors of a similar family name- with whom I exchanged some emails last year on his initiative. He asked me for more info on my "greek" data for his own family tree but on second thoughts decided to stop corresponding later on).

Friar Cocchi's "Stilo moderno" and biography (http://kosiv.info/ed/grove/Entries/S06013.htm) links him to "Giulio Caccini's" Novella Musica and to "Concino Concini's" star- disappearing at the time but leaving a long tail behind- links him also to Giorgio "Magnifico" Cochini, the Dorias and Lepanto**, thus reconfirming a very basic part of my "theory" as well.

My regards to professors Tromboni, Canoni and Baloni for their valuable contribution to the science of Musicology as forcibly applied on "italian opera".


Cheers.


*Add "Giacomo Casanova" to the list btw: His own "biography"-a very reputable source indeed- talents and travels fit my hero like a glove!
** See post 69 at http://www.online-literature.com/for...t=15023&page=5

Yanni,

Unless you have evidence to the contrary isn't it worth accepting what we have ?

As far as Cocchi is concerned, you may be interested to know of the career of another composer of that same name. Probably an ancestor of G. Cocchi and related in a number of ways to the circle that was around Mozart in the century later.

Claudio Cocchi (b. late 16th century in Genoa, d. after 1631). Who was a Franciscan who worked in 3 countries during a short space of time. In 1626 he became (and this is where it gets interesting) Chaplain and Kapellmeister to Cardinal Franz Dietrichstein, Bishop of Olomouc and Governor of Moravia. A patron of Italian style music. He was also employed at Trieste Cathedral and superintedant of the monastery there. His masses were published at Venice. And in Milan.

Mozart and his father visited and stayed in this same town of Olomouc (1767) when he was a boy of 11 (almost 12) although, in fact, the official story of his visit was he was escaping from an epidemic in Vienna. They stayed for weeks in this area including Brno. Olomouc was a part of the musical/cultural network into which Mozart's career was invented. This I will show in some detail in the book. But of course, demonstrating his 'genius' there, of course !!! (LOL).

It seems to me your interest in Cocchi should include the life of Claudio Cocchi, whose employment, whose role in music, is worthy of your attention. As for linking G. Cocchi with Gluck etc, and your aliases of various others, this too is interesting but it really lacks any firm evidence. So I will continue to believe in G. Cocchi, composer, and in the earlier Claudio Cocchi. And perhaps you can discover if these two musicians were of the same family. Which I think is very probable. Even consisting of the fact they both had links with Venice.

I don't know if I can help further in Cocchi from a Mozart point of view, except to hope you will acknowledge G. Cocchi, composer, was based for years in England, and was there at the time of Mozart's arrival, was also closely associated with the Venetian occultism and its fraternities which were then so popular within many branches of the English aristocracy.

And since you yourself are talking of Shelburne (himself associated with the British East India Company) we keep coming back to the fact that the British Empire were deeply involved in the art and culture of that century and beyond through these fraternities.

Philidor may be more interesting for your thesis.

Regards

[Musicology]

Yanni,

We must get to the root of a thing, and especially in this area of research. Since the individual players are linked by their allegiance to dynastic rule, to hereditary privileges, to elite families, to vested interests over centuries and so on. A vitally important part of which is to realise the interests of the Holy Roman Empire included an alliance with occultists who emerged as a force from Venice at the time when the Jesuit Order were formed. That is, as agents of the counter-reformation. And that the role of Venice and of the emerging British Empire are areas that make sense of what is otherwise beyond explanation.

But my subject is Mozart. And yours is Cocchi.

I hope you can confirm here, at some time, that Cocchi, Kapellmeister at Olomouc was indeed related to G. Cocchi of the 18th century. Since this is strongly indicated by various lines of evidence. As for its implications, I leave these for you to consider.

Regards

[Musicology]

Further to the above on Claudio Cocchi - (and obtained from the following sources) -

1. G. Radole: ‘Antiche stampe della cappella di S. Giusto’, Pagine istriane (1954)
2. G. Radole: ‘Musicisti a Trieste sul finire del Cinquecento e nei primi del Seicento’, Archeografo triestino, 4th ser., xxii (1959), 133–61

3. J. Sehnal: ‘Hudba na dvoře Olomouckých biskupů od 13. do poloviny 17. stol.’ Music at the courts of the bishops of Olomouc from the 13th to the mid-17th centuries', Časopis vlastivědné společnosti muzejní v Olomouci (1970), 73–86

4. C. Desimoni: ‘Saggio storico sulla musica in Liguria e sulla storia musicale genovese’, NA, new ser., v (1987), suppl.

5. D. Calcagno: ‘Cocchi, Claudio’, Dizionario biografico dei liguri (Genoa, 1990)

6. G. Vecchi - short article on C. Cocchi in 'Grove'

In 1626 Claudio Cocchi was a chaplain and musician (and shortly afterwards perhaps maestro di cappella: see below) to the music-loving Cardinal Franz Dietrichstein, Bishop of Olomouc and Governor of Moravia, who fostered the Italian style and who employed several Italian musicians. From 1627 to 1630 Cocchi was also maestro di cappella of Trieste Cathedral and superintendent of the friars minor there. He was appointed maestro of S Francesco, Milan, in 1632, when, in the dedication of his op.10, he mentioned he had worked in a similar capacity not only at Trieste but also at Olomouc too and also at S Severino Marche, at Avignon and also at the Sacro Convento, Assisi (also in 1632). It is unclear whether he was at these last three places entirely between 1630 and 1632 or before 1626 as well. He is known to have been a member of an academy known as ‘Accademico Arrischiato detto l’Allegro’. If his work op.10 is correctly designated, at least seven volumes of music by him must be lost. Those that survive, consist wholly of music in the concertato style, are 'Armonici concentus … stilo moderno' (published in Venice, 1626), 'Messe concertate' (Venice, 1627), both for five voices and organ, and 'Ghirlanda sacra de salmi concertati … libro secondo' op.10, for four voices and continuo (Milan, 1632), which also includes an 'Ave maris stella'.

//

Rgds

also -

http://translate.google.co.uk/transl...UK313%26sa%3DG

/

[Musicology]

And here is a short excerpt from 'The Manufacture of Mozart' (taken from the first chapter, entitled 'The Mozart Empire') -

In a major musical reference work of 11 volumes, (‘The New Oxford History of Music’) - (1973) - may be seen the following comments in its 5th volume (which focuses on music during the second half of the 18th century) - the period when Mozart lived, and whose cover is ominously entitled, ‘Age of Enlightenment‘ -

‘The scope of the work is sufficiently indicated by the titles of the several volumes. Our subject throughout has been to present music, not as an isolated phenomenon or the work of outstanding composers, but as an art developing in constant association with every forum of human activity and creativity. The biographies of individuals are therefore incidental to the main plan of the history…’

(Editors E. Wellesz and F. Sternfeld, in their introduction to Volume 5, ‘Age of Enlightenment’- ‘New Oxford History of Music’ (1973).

Such was the highly commendable aim of those two editors as they attempted to guide readers through music of this period. In view of their much welcomed approach we can expect this 724 page section to provide a fresh, more holistic approach to music and musical achievement over this vital and highly creative period. And we will return to this publication and its results in a moment. But first, consider Mozart in Vienna.

By the time of his death in Vienna in late 1791 Mozart, married and resident in the Austrian capital for around 9 years, is credited with having composed around 700 musical works, around half of these before his arrival in the city and the other half (which include some of the finest music of the 18th or any other century) within that same city. This amazing list of compositional achievements includes, so we are told, some 27 piano concertos, close to 50 symphonies, over 20 church works, over a dozen operas, numerous wind concertos, no less than 5 violin concertos, dozens of chamber works (including string quintets and quartets) and hundreds of others in virtually every musical form. The same W.A. Mozart was also celebrated as a teacher of composition and harmony to numerous pupils, was an equally celebrated genius across much of Europe, was envied for his prodigious abilities by at least some of his own musical associates (this according to his father and himself) and was the celebrated composer of the famous Singspiel, ‘Die Entfuhrung aus dem Serail’ (this being performed widely across German speaking lands within his Vienna period ) and also of a series of remarkable operas such as ‘Le Nozze di Figaro’, ‘Don Giovanni’ and ‘Cosi Fan Tutte’. This man was even more celebrated for these things in Prague. So that if we can imagine ourselves in the Austrian capital in the year of 1790 this prodigy of western music still has ahead of him the writing of ‘Die Zauberflote’, ‘La Clemenza di Tito’, the Clarinet Concerto, and, of course, the Requiem. To complete our thumbnail sketch of the mercurial Mozart we must also record his famed abilities as a keyboard virtuoso, this demonstrated many times to much profit before hundreds of aristocrats and music lovers over those Vienna years, and the fact he was a private tutor to literally dozens of pupils, some of whom became leading virtuosos and composers themselves. The celebrity of Mozart within this ‘city of music’ and this list of his talents and achievements has been built upon that already obtained from his many tours of his childhood and youth. Or so, at least, says convention. It is this Mozart, the Mozart of convention, whom we must now examine more closely.

(You will pardon me retaining a sense of humour throughout this difficult publication so that this act of criticism against one of the great icons of western civilization remains readable. Please believe I want its findings to be of value and for them to be judged in the light of the available evidence. No attempt will be made to convince you of things which may sound too strange or to change your mind if you choose to disagree. Nor will there be any attempt over the following chapters to impress you with pages of footnotes scribbled down from countless obscure publications or to provide you with dreamy eulogies. But, to the extent that satire is (and was in Mozart’s time) a form of criticism, so satire will feature here in a fair and honest attempt to examine and convey to you the Mozart phenomenon and its formation during the late 18th and early 19th centuries. So if you find yourself unimpressed by the picture that emerges from this work you may remember its humour and goodwill and may even, eventually, forgive the fool who first brought these things to your attention.

//

R.E. Newman

[yanni]

Don't let the fact of the specific "dynasty", with their specific reasons and interests, going against the "Holy Roman Empire" as they did, disturb your recital Robert.

Definitely, Mozart and his jesuit counterreformers took over the world eversince as agents of the Venetian occultists acting for the Vatican who, in turn, still are agents of the Holy Roman Empire, who in fact are today the main shareholders of the Church of England, Pzifer, Akla Setzler, Coca Loca and the Fed.

Great story!

Cheers!

Yanni,

We must get to the root of a thing, and especially in this area of research. Since the individual players are linked by their allegiance to dynastic rule, to hereditary privileges, to elite families, to vested interests over centuries and so on. A vitally important part of which is to realise the interests of the Holy Roman Empire included an alliance with occultists who emerged as a force from Venice at the time when the Jesuit Order were formed. That is, as agents of the counter-reformation. And that the role of Venice and of the emerging British Empire are areas that make sense of what is otherwise beyond explanation.

But my subject is Mozart. And yours is Cocchi.

I hope you can confirm here, at some time, that Cocchi, Kapellmeister at Olomouc was indeed related to G. Cocchi of the 18th century. Since this is strongly indicated by various lines of evidence. As for its implications, I leave these for you to consider.

Regards

[Musicology]

Thank you for your description of the corporate world. You must dare to believe there is a real one. Even to know it.

[yanni]

Count Ferdinand Ernst Gabriel von Waldstein to young Beethoven leaving for Vienna from Bonn, November 1792:

Dear Beethoven! You go to realise a long-desired wish : the genius of Mozart is still in mourning and weeps for the death of its disciple. (...) By incessant application, receive Mozart's spirit from Haydn's hands.

The count's alleged brother at the time, a "Joseph Karl von Waldstein", was hosting "Giacomo Casanova" in the castle of Dux (also "Duchcov"-rings a bell, Robert?) where Casanova allegedly died June 1798.

Googling for "Joseph Karl von Waldstein" however one comes back to Casanova who propably created "Joseph Karl" to fit his own biography, written there....

....while Joseph Karl's brother, Count Ferdinand von Waldstein.....

...On 3 June 1795, Ferdinand sealed a contract with England on creating a "Mergentheim regiment". From 1796, he was in London. On 23 July 1797, the elector wrote, "For over a year neither the order nor his creditors have heard anything from Ferdinand von Waldstein, I wish him much money and intelligence". Evidence shows Ferdinand was occasionally with his regiment in west India. In 1807, he left the British army.

From 1809, Ferdinand lived in Vienna or on his Bohemian estates. He withdrew from the order in 1811. On 9 May 1812, Ferdinand married Countess Isabella Rzewuska. After unfortunate financial transactions, he became impoverished, and died in 1823 in Vienna. Wikipedia!

Those bohemian jesuits pop up all over, don't they?

LOL!!

Of great relative interest to true musicologists:
http://www.giusepperausa.it/mozart_e..._misterio.html

Altri indizi si aggiungono se si pensa che un altro Waldstein, Jan Vincenc Ferrerius von Waldstein (1731-1797), “scopre” intorno al 1760 il talento del praghese Josef Myslivecek e lo manda a studiare, nel 1763, da Giovanni Battista Pescetti, ovvero proprio nella Venezia di Galuppi, Bertoni e Luchesi, città dalla quale inizia l’ascesa italiana e quindi europea del “divino boemo”.

Jan Vincenc Ferrerius or Vincent von Waldstein only exists today thanks to the creative powers of "Myslivecek", ie "Casanova" who also created Jan's cousin "Joseph Karl von Waldstein" as above.

How right about the brits was Cocchi, saying "They only appreciate what they have dearly paid for". He was a true lover of nature, afterall, just like his "Rousseau"!


To conclude:

Gioachino Cocchi's late 17th roots in Bohemia may be traced to http://aleph.vkol.cz/pub/svk01/00055/27/000552706.htm, (Katalog Vědecké knihovny v Olomouci, báze SVK01, záznam 000552706):

Jan Antonín Cassinis de "Bugella" (De Mugella obviously), 1659-1719, Rector of Karls-Universität Prague in 1694.

[Musicology]

Yanni,

Thanks for this stuff about Waldstein and Beethoven etc. But by 1792 the career of Beethoven was already under the control of the same elites who had manufactured Mozart and who now oversaw the career of Beethoven. The Illuminatists (who were first to publicise the 13 year old Beethoven in Bonn in their 'Cramer's Magazine' of 1783) were a powerful force in Bonn. Including this same Waldstein you mentioned, also local music publisher Simrock (himself deeply involved in 'Mozart' publications) who had been a member of the Bonn chapel orchestra. And yes, their occultist links to Dux are well known. By 1783, Yanni, the music publishing industry of Germany and Austria was virtually all in the hands of the Illuminatists. In Bonn the 'Bonn Reading Society' was an Illuminatist organisation. In Vienna there were amongst the illuminatist/fraternity publishers Hoffmeister, for example. And Artaria. Both had close association with the career of Mozart in Vienna during his lifetime. So the control once exercised by the Jesuits in publishing and censorship throughout Germany and Austria was now (here in the musical sphere) and especially after the ban of 1773 (actually as early as 1762 in France) in the hands of these fraternities associated with the illuminatists. Through the 'Reading Societies' etc. And yes, Count Waldstein's brother was closely associated with Casanova at Dux. And, as for the first performance of 'Figaro' (at Frankfurt) in the year before the 'premiere' which company staged it there ? Other than the Grossmann theatrical group, themselves (until 1783) based at Bonn.

And who was the real patron of Casanova ? In the 'Memoirs' of Casanova (the volume entitled 'The Eternal Quest' p.231 he writes -


'Shortly after, the pope died and he was succeeded by the Venetian Rezzonico (1758) who created my own patron, the Abbe de Bernis, a Cardinal'.

And, on the next page -

'Cardinal de Bernis passed 10 years in exile, procul negotiis, but he was not happy as he told me himself when I knew him in Rome 15 years afterwards.... Cardinal de Bernis was never recalled - there is no instance of King Louis 14th having ever recalled a minister whom he had disgraced. But on the death of Rezzonico he had to go to Rome to be present at the papal conclave, and there he remained (in Rome) as the French Ambassador'.

Clear proof, Yanni, of who was Casanova's patron. Cardinal de Bernis, who became French Ambassador at Rome and formerly minister of King Louis 14th of France.

So this 'illuminatist' movement was controlled from the start by the same elites. The secularisation known as the 'enlightenment'. Who soon controlled the music business as we see an example here of at the time of Waldstein and Beethoven.

(Incidentally, the musical score of 'The Magic Flute' was sent to Bonn by Mozart before it was ever performed (according to the surviving correspondence of this same Simrock). Where it was 'worked on'. He admits this fact in a letter to the German music editor Gottfried Weber. Refered to in a book published in Paris in the 1930's called 'La Jeunesse de Beethoven' by J.D. Prod'homme.

And here is an article on Cardinal Bernis (Francois Joachim de Pierre de Bernis 1715-94).

http://66.102.9.132/search?q=cache:J...&ct=clnk&gl=uk

Regards

[yanni]

Certainly the more "scholars" use Casanova as a source, the more trustworthy he becomes.

Did you have to wait in line?

LOL!!!

While you'll be assembling such "pearls" for your next masterpiece, I'll be eagerly awaiting Mr Giuseppe Rausa's next article on Cocchi-Gluck-Myslivecek-Casanova etc.

'E molto particulare,' said Cocchi, the Composer; 'ma quei Inglesi non fanno conto d'alcuna cosa se non ben pagata'

Cheers!