Let's face it, one of the Cocchi clan (that loyal breed of servants devoted to musical obscurantism and to furthering cultural propaganda and who were spread like margarine in high places across the face of much of musical Europe over several generations) must have had a 'Marchand experience'.* Probably due to one of them attending a JS Bach concert. (The experience proving to be too humbling and so contrary to his education that he rushed back in shame to his sponsor by the first available coach) . Replaced soon afterwards by his cousin, or perhaps by his alias. (?)
(* 'Marchand Experience' *- the name given to an embarrassed, alienated and suppressed feeling of a kind recommended to no-one. Which occurs when first coming in to contact with musical reality of an extraordinary kind during highly funded campaigns of musical misinformation and other occultist counter-reformation activity. Based on the experience of well publicised and much praised Jesuit organist Louis Marchand (1669-1732) who, when commissioned to publicly challenge JS Bach to an organ duel in September 1717 in Dresden and when that challenge was immediately accepted. With less than desirable effects for the reputation of the said Monsieur Marchand who left by the first coach for Paris).
('Dictionary of Making the Rough Musical Places Straight' - Vol. 1. p. 377)
Last edited by Musicology; 11-19-2010 at 08:27 AM.
Wolfgang Amadeus Mozart
Various notes:
Life: 1756–1791
Robert Newman research into the "Mozart conspiracy"
His upcoming book "The Manufacture of Mozart" (Now canceled? If so, why?)
"I am specially interested in the relationship between writers of Mozart's time with the Jesuit Order, since, it seems to me, 'Enlightenment' philosophers such as Voltaire and Rousseau (both hugely important to the Mozart story) were themselves strangely allied during their own lifetimes with the controlling aims of Jesuit Order, even beyond 1773. Indeed, the 'Englightenment' as a movement seems to have been a Jesuit-led strategy which flourished after the same Jesuit Order was officially annulled in 1773. So that the rise of what is generally called 'secularism' in the name of the 'Enlightenment' was very much controlled, orchestrated, and even defined by the deliberate rise of adoration for Rousseau and Voltaire (both of whom had close relationships to the Jesuits and to the fraternities which emerged after 1773). Mozart's relationship with the Encyclopaedists, Diderot, Grimm and others, D'Epinay and others are clear evidence of such a relationship. In 1778 Mozart's Paris patron during his stay there was the same Baron Grimm. I am sure (and have much supporting evidence) that the musical career of Mozart was almost entirely manufactured, falsified, even from the time of his childhood onward by the fraternities of the Holy Roman Empire, this involving the supply to Mozart (even after his death in 1791) of music he never composed but which, being published and performed in his name as 'evidence of his genius', eventually, led to a Mozart-dominated musicology, the hijacking of historical reality, the destruction of musicology itself, and the control of what is taught and believed on music in this important period of musical history. The musical evidence (from manuscripts etc etc) is now very clear. And other researchers are increasingly agreeing with this view. In my research over the past 15 years or so I have become more and more certain of all the above. Certain too that the secret fraternities of western Europe (such as the Rosicrucians, the Freemasons, the Illuminatists) have invented idols of their own, of which Mozart was one, so that they could, by controlling their mythical status in the academic world, shape and even define our 'education' far more than is generally realised." [24]
PS Proktophantasmist (griech.), einer, der infolge von Unterleibskrankheiten an Halluzinationen leidet. So say the germans at least, but they don't really want to know.My own interpretation of Goethe's proktophantasmist (ie Nicolai/De Nicolay/Rousseau/Kant) is: One whose theories on metaphysics are worth "sh*t".
Your post reminds me to use the opening lines of Martin Luther's remarkable book, 'Bondage of the Will' (1525) - which contains the most brilliant (and detailed) reply to the cowardly dogmas of the Roman theologian Erasmus. I paraphrase where Luther writes -
''Because it has taken me so long to answer your writings, contrary to the expectation of everyone, (and even contrary to my own custom) some may, perhaps, wonder at such a new and unusual thing, this long delay in me not responding to various taunts, to the letters of adversaries, who already celebrate their victory - so it may even appear I have been silenced and cannot open my mouth. Here, however, is my reply'' -
(I have definitely NOT given up writing 'The Manufacture of Mozart'. But, for sure, it will take months longer to finish than I had supposed. You may suffer to hear this news, Yanni and may suffer a little more).
But help is always near - merely unscrew the bottle and take a teaspoon of this - it will do you much good.
Wolfgang Amadeus Mozart
Various notes:
Life: 1756–1791
Robert Newman research into the "Mozart conspiracy"
His upcoming book "The Manufacture of Mozart" (Now canceled? If so, why?)
"I am specially interested in the relationship between writers of Mozart's time with the Jesuit Order, since, it seems to me, 'Enlightenment' philosophers such as Voltaire and Rousseau (both hugely important to the Mozart story) were themselves strangely allied during their own lifetimes with the controlling aims of Jesuit Order, even beyond 1773. Indeed, the 'Englightenment' as a movement seems to have been a Jesuit-led strategy which flourished after the same Jesuit Order was officially annulled in 1773. So that the rise of what is generally called 'secularism' in the name of the 'Enlightenment' was very much controlled, orchestrated, and even defined by the deliberate rise of adoration for Rousseau and Voltaire (both of whom had close relationships to the Jesuits and to the fraternities which emerged after 1773). Mozart's relationship with the Encyclopaedists, Diderot, Grimm and others, D'Epinay and others are clear evidence of such a relationship. In 1778 Mozart's Paris patron during his stay there was the same Baron Grimm. I am sure (and have much supporting evidence) that the musical career of Mozart was almost entirely manufactured, falsified, even from the time of his childhood onward by the fraternities of the Holy Roman Empire, this involving the supply to Mozart (even after his death in 1791) of music he never composed but which, being published and performed in his name as 'evidence of his genius', eventually, led to a Mozart-dominated musicology, the hijacking of historical reality, the destruction of musicology itself, and the control of what is taught and believed on music in this important period of musical history. The musical evidence (from manuscripts etc etc) is now very clear. And other researchers are increasingly agreeing with this view. In my research over the past 15 years or so I have become more and more certain of all the above. Certain too that the secret fraternities of western Europe (such as the Rosicrucians, the Freemasons, the Illuminatists) have invented idols of their own, of which Mozart was one, so that they could, by controlling their mythical status in the academic world, shape and even define our 'education' far more than is generally realised." [24]
PS Proktophantasmist (griech.), einer, der infolge von Unterleibskrankheiten an Halluzinationen leidet. So say the germans at least, but they don't really want to know.My own interpretation of Goethe's proktophamtasmist (ie Nicolai/De Nicolay/Rousseau/Kant) is: One whose theories on metaphysics are worth "sh*t".
Last edited by Musicology; 11-19-2010 at 12:46 PM.
The book is not on Mozart/Nissen. It's an expose of the cardboard world that eventually became (and still is) the musical pantheon of western culture, focusing in particular on the engineered life, career and iconic status of the 'genius' composer W.A. Mozart. Featuring a cast of thousands who, by convention, are entirely suppressed from the record. An antidote to those who consider ourselves cultured and educated at the same time by 'Amadeus'. With it's famous trailer saying, 'Everything you've heard is true'. Otherwise known as 'Musical History without the History'. LOL !
Originally Posted by yanni
Indeed, Robert, as a lifelong classical-music-fan/consummer, eversince I learned of your coming book on Mozart/Nissen I lost my sleep in anticipation.
Regards!
Last edited by Musicology; 11-19-2010 at 02:38 PM.
Praised be the Luther, the Handel, the Bach, the Kant, the Churchill and all other Lords of H.M's Admiralty.
Alellujah!
PS1:To Robert: My Xmas gift to you, the historian/musicologist, is another puzzle yet: To interpret the link between Ded Moroz, the Russian alternative to Santa Claus the Finn, and Tad Morose, the swedish heavy metal group!
PS2:To site administrator: Stop fiddling with the viewers number- or at least do it less obviously!
Originally Posted by Musicology
Thank you Yanni,
The book is not on Mozart/Nissen. It's an expose of the cardboard world that eventually became (and still is) the musical pantheon of western culture, focusing in particular on the engineered life, career and iconic status of the 'genius' composer W.A. Mozart. Featuring a cast of thousands who, by convention, are entirely suppressed from the record. An antidote to those who consider ourselves cultured and educated at the same time by 'Amadeus'. With it's famous trailer saying, 'Everything you've heard is true'. Otherwise known as 'Musical History without the History'. LOL !
No, Yanni. It seems you have not yet learned praise is NOT due to human beings in any of the cases you refer to. And especially not in the case of Herr GF Handel, the Churchill's or any of the Lords of HM Admiralty. (Praising other humans is very boring and leads only to icons, dogmatism, academic dogma, the suppression of facts, media manipulation, exaggeration and misinformation). It has been the fraternal counterfeit of reality for two centuries, has presided over a system of academic and cultural control and is unworthy of your time and talents. Or mine.
Some humans chose to be honest. Others did not. Some serve mankind and others choose not to. And the good news is that, in the end, this is what counts.
Praised be the Luther, the Handel, the Bach, the Kant, the Churchill and all other Lords of H.M's Admiralty.
Alellujah!
PS1:To Robert: My Xmas gift to you, the historian/musicologist, is another puzzle yet: To interpret the link between Ded Moroz, the Russian alternative to Santa Claus the Finn, and Tad Morose, the swedish heavy metal group!
PS2:To site administrator: Stop fiddling with the viewers number- or at least do it less obviously!
Last edited by Musicology; 11-20-2010 at 12:20 PM.
You were going to show us some evidence in support of your idea that G F Handel was JS Bach (and vice-versa). How unfortunate you've provided absolutely none so far. I seem to remember we spent several weeks on it. During which time I produced evidence of the time that G.F. Handel was a known musical plagiarist in London and in Germany. From the writings of his own contemporaries. Who was being supported by Rome. And by various Italian composers also. You were also refered to several publications on the extent of Handel's musical plagiarism. And in reply you have failed to show any Bach/Handel evidence. You simply repeat the mantra (after a period of silence) that 'Bach was Handel'. Hoping somebody, somewhere, will believe it. Right ? You were asked to say which of the many children (all of whom were baptised with the name of JS Bach as their father) were actually fathered by G.F. Handel. But there was no reply from you on this also. It did not increase your credibility. That's what we like Yanni - more of your devastating 'evidence' !!!
I will resist the temptation of repeating myself. LOL !
Allow me to remind you Robert that following the Nicolai/de Nicolay/Kant own revelations and diagnosis on the opera phantom's proctitis and causes, this subject was declared closed ie successfully terminated with yourtruly's curiosity well satisfied.
You had your chance to patch up your conventional grove-ling "truth" but alas at the expense and to the detriment of your Mozart salami (as per public opinion, post 304 above).
We must never let basic facts (and the absence of them) get in the way of a convoluted story. It seems we have fallen in exhaustion over the winning line -GF Handel is JS Bach in the same way that a horse is a sewing machine !
rt that following the Nicolai/de Nicolay/Kant own revelations and diagnosis on the opera phantom's proctitis and causes, this subject was declared closed ie successfully terminated with yourtruly's curiosity well satisfied.
You had your chance to patch up your conventional grove-ling "truth" but alas at the expense and to the detriment of your Mozart salami (as per public opinion, post 304 above).
Take care, keep well, good luck!
Last edited by Musicology; 11-21-2010 at 07:01 AM.
'The task of cultured people nowdays is to raise doubts and not collect certainties'-Norberto Bobbio
Back to Bach....and your remarkable failure to fulfill the terms of the challenge you publicaly accepted in this thread: to prove that he was a different person than Handel* by finding one single instance that they ever were at a different place at any given date throughout "their" lives. Many before you tried do the same and failed as well.
Between 1708 and 1742 (through 2 marriages) J.S. Bach had no less than 20 (twenty) children, only 10 of whom lived in to adulthood. The father's name of all 20 of these was given as J.S. Bach. That is a documentary/verifiable fact. Their births were recorded in every case.
How many of those babies of J.S. Bach were conceived while G.F. Handel and J.S. Bach were in the same place ? Answer ? Zero.
Yanni will now show us differently, yes ?
You want a single instance when Handel and Bach ever were at a different place at any given date throughout their lives. You now have 20 instances to choose from !!!!! TWENTY !!!!!
Game Over Yanni ! These facts are unanswerable. They exist specially for men like Yanni. And I've asked about them before without an answer.
'The task of cultured people nowdays is to raise doubts and not collect certainties'-Norberto Bobbio
Back to Bach....and your remarkable failure to fulfill the terms of the challenge you publicaly accepted in this thread: to prove that he was a different person than Handel* by finding one single instance that they ever were at a different place at any given date throughout "their" lives. Many before you tried do the same and failed as well.
Your failure to face up to the clearly defined challenge you accepted a while back in this thread cannot be remedied by another volley of grove-ling nonsense!
Originally Posted by yanni
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