Music
The Music of Count St. Germain
Composer & Musician
download his music here:
http://www.sgc-paris.eu/2009/0000009bfa03efc05/0000009bfc0a1da02.html
Composer & Musician
download his music here:
http://www.sgc-paris.eu/2009/0000009bfa03efc05/0000009bfc0a1da02.html
VIDEO: http://vimeo.com/13114505
Set to the music composed by St. Germain, walk in magician and philosopher St. Germain's footsteps in his last home, mystery school, temple and laboratory. He lived at Louisenlund in the later 1700s with his patron Landgrave Karl von Hessen-Kassel (1744-1836). They conducted experiments and initiations in the Hermetic Garden, among the megalithic stones and in St. Germain's Gothic alchemical tower - “All Brothers in Art”, Philosophers of Nature. All life is fire, the soul of things, the light that emanates from it is our mercury and this all rises from the salt of the earth.
Set to the music composed by St. Germain, walk in magician and philosopher St. Germain's footsteps in his last home, mystery school, temple and laboratory. He lived at Louisenlund in the later 1700s with his patron Landgrave Karl von Hessen-Kassel (1744-1836). They conducted experiments and initiations in the Hermetic Garden, among the megalithic stones and in St. Germain's Gothic alchemical tower - “All Brothers in Art”, Philosophers of Nature. All life is fire, the soul of things, the light that emanates from it is our mercury and this all rises from the salt of the earth.
Music by The Count The following list of music comes from Appendix II from Jean Overton-Fuller's book "The Comte de Saint Germain".
Trio Sonatas
Six Sonatas for two violins with a bass for harpsichord or violoncello.
Seven Solos for a Violin.
Numbered in order of their appearance in the Musique Raisonnee, with their page numbers in that volume. * Marks those performed in L'Incostanza Delusa and published in the Favourite Songs from that opera.
Trio Sonatas
Six Sonatas for two violins with a bass for harpsichord or violoncello.
- Op.47 I. F Major, 4/4, Molto Adagio
- Op.48 II. B Flat Major, 4/4, Allegro
- Op.49 III. E Flat Major, 4/4, Adagio
- Op.50 IV. G Minor, 4/4, Tempo giusto
- Op.51 V. G Major, 4/4, Moderato
- Op.52 VI. A Major, 3/4, Cantabile lento
Seven Solos for a Violin.
- Op.53 I. B Flat Major, 4/4, Largo
- Op.54 II. E Major, 4/4, Adagio
- Op.55 III. C Minor, 4/4, Adagio
- Op.56 IV. E Flat Major, 4/4, Adagio
- Op.57 V. E Flat Major, 4/4, Adagio
- Op.58 VI. A Major, 4/4, Adagio
- Op.59 VII. B Flat Major, 4/4, Adagio
- Op.4 The Maid That's Made For Love and Me (O Wouldst Thou Know What Sacred Charms). E Flat Major (marked B Flat Major), 3/4
- Op.7 Jove, When He Saw My Fanny's Face. D Major, 3/4
- Op.5 It Is Not That I Love You Less. F Major, 3/4
- Op.6 Gentle Love, This Hour Befriend Me. D Major, 4/4
Numbered in order of their appearance in the Musique Raisonnee, with their page numbers in that volume. * Marks those performed in L'Incostanza Delusa and published in the Favourite Songs from that opera.
- Op.8 I. Padre perdona, oh! pene, G Minor, 4/4, p. 1
- Op.9 II. Non piangete amarti, E Major, 4/4, p. 6
- Op.10 III. Intendo il tuo, F Major, 4/4, p. 11
- Op.1 IV. Senza pieta mi credi*, G Major, 6/8 (marked 3/8 but there are 6 quavers to the bar), p. 16
- Op.11 V. Gia, gia che moria deggio, D Major, 3/4, p. 21
- Op.12 VI. Dille che l'amor mio*, E Major, 4/4, p. 27
- Op.13 VII. Mio ben ricordati, D Major, 3/4, p. 32
- Op.2 VIII. Digli, digli*, D Major, 3/4, p. 36
- Op.3 IX. Per pieta bel Idol mio*, F Major, 3/8, p. 40
- Op.14 X. Non so, quel dolce moto, B Flat Major, 4/4, p. 46
- Op.15 XI. Piango, e ver, ma non procede, G minor, 4/4, p. 51
- Op.16 XII. Dal labbro che t'accende, E Major, 3/4, p. 56
- Op.4/17 XIII. Se mai riviene, D Minor, 3/4, p. 58
- Op.18 XIV. Parlero non e permesso, E Major, 4/4, p. 62
- Op.19 XV. Se tutti i miei pensieri, A Major, 4/4, p. 64
- Op.20 XVI. Guadarlo, guaralo in volto, E Major, 3/4, p. 66
- Op.21 XVII. Oh Dio mancarmi, D Major, 4/4, p. 68
- Op.22 XVIII. Digli che son fedele, E Flat Major, 3/4, p. 70
- Op.23 XIX. Pensa che sei cruda, E Minor, 4/4, p. 72
- Op.24 XX. Torna torna innocente, G Major, 3/8, p. 74
- Op.25 XXI. Un certo non so che veggo, E Major, 4/4, p. 76
- Op.26 XXII. Guardami, guardami prima in volto, D Major, 4/4, p. 78
- Op.27 XXIII. Parto, se vuoi cosi, E Flat Major, 4/4, p. 80
- Op.28 XXIV. Volga al Ciel se ti, D Minor, 3/4, p. 82
- Op.29 XXV. Guarda se in questa volta, F Major, 4/4, p. 84
- Op.30 XXVI. Quanto mai felice, D Major, 3/4, p. 86
- Op.31 XXVII. Ah che neldi'sti, D Major, 4/4, p. 88
- Op.32, XXVIII. Dopp'un tuo Sguardo, F Major, 3/4, p. 90
- Op.33 XXIX. Serbero fra'Ceppi, G major, 4/4, 92
- Op.34 XXX. Figlio se piu non vivi moro, F Major, 4/4, p. 94
- Op.35 XXXI. Non ti respondo, C Major, 3/4, p. 96
- Op.36 XXXII. Povero cor perche palpito, G Major, 3/4, p. 99
- Op.37 XXXIII. Non v'e piu barbaro, C Minor, 3/8, p. 102
- Op.38 XXXIV. Se de'tuoi lumi al fuoco amor, E major, 4/4, p. 106
- Op.39 XXXV. Se tutto tosto me sdegno, E Major, 4/4, p. 109
- Op.40 XXXVI. Ai negli occhi un tel incanto, D Major, 4/4 (marked 2/4 but there are 4 crochets to the bar), p. 112
- Op.41 XXXVII. Come poteste de Dio, F Major, 4/4, p. 116
- Op.42 XXXVIII. Che sorte crudele, G Major, 4/4, p. 119
- Op.43 XXXIX. Se almen potesse al pianto, G Minor, 4/4, p. 122
- Op.44 XXXX. Se viver non posso lunghi, D Major, 3/8, p. 125
- Op.45 XXXXI. Fedel faro faro cara cara, D Major, 3/4, p. 128
- Op.46 XXXXII. Non ha ragione, F Major, 4/4, p. 131
Composer of Popular Music
An associate of Handel and also the composer Jean-Philippe Rameau, Saint Germain was praised for his ability to compose and perform exquisite musical pieces. At Versailles he gave concerts on the violin (it was said that he played the violin “like an orchestra”) and on one occasion he conducted a symphony without use of a score.
Saint Germain’s compositions were quite popular in London as well. The newspaper of London said of Saint Germain, “With regard to music, he not only played but composed; and both in high taste. Nay, his very ideas were accommodated to the art; and in those occurrences which had no relation to music, he found means to express himself in figurative terms deduced from this science.”
Charles Burney, the composer of “God Save the King,” writes in his History of Music about a time when one of the several songs Saint Germain had composed was used every night of the Opera season as the encore performance of the “first woman” of the opera—Farsi, Handel’s prema donna and the one who sang all of his oratorios for him including his Messiah. So popular was Saint Germain’s song—“Per pieta bel idol mio” (For pity’s sake, beautiful idol of mine) that the manager of the opera house had the first few lines of the song, including both staves and words, painted as a huge mural on the wall of his home in London.
Another beloved piece by the adept was “That Maid That’s Made for Love and Me.” Another called simply “A New Song,” was also known by its first line, “O wouldst thou know what sacred charms.” This song was sung by a famous tenor of the time who performed only the best musical compositions. The piece was printed in New Grove’s Dictionary of Music and Musicians as well as The London Magazine in 1747 and The Gentleman’s Magazine in that same year. The music is in 3/4-waltz time, which is the rhythm Saint Germain has always promoted as being healing for the heart, as it is its natural rhythm.
Some of Saint Germain’s compositions were meant for the amateur singer to perform in local salons. Others were formal works intended for the large orchestras of the day. He also provided new arrangements for several popular songs.
Most of Saint Germain’s musical compositions were published by Walsh, a well-known music publisher in London, who was given exclusive rights to publish a set of Italian Arias by Saint Germain through a note signed by the Secretary of State on November 27, 1749. This publication consisted of 42 arias and was 135 pages long! Saint Germain also wrote art songs in English, which Walsh published around 1747.
Many of Saint Germain’s most well liked songs were reprinted in popular magazines of the day. At one time Peter Tchaikovsky held one of Saint Germain’s compositions in his private collection. Today most of these collections are in the British Museum or in private collections. In our “Products that Transform” section we sell a few of Saint Germain’s compositions as sheet music and also offer a cassette tape of a piano version of his some of his music.
After doing extensive research to round up all the above information on Saint Germain’s musical career in eighteenth-century London, Theosophist Jean Overton-Street concluded: “Clearly Saint Germain was a composer of considerable competence and merit.”
Book Summary: The Music Of The Comte De St. Germain: The Favorite Songs From The Opera Called L'Incostanza Delusa, To Which Is Added Six Sonatas For Two Violins With A photographic facsimile of St. Germain's sheet music is attractively bound in a leatherette edition limited to one thousand numbered copies. The title page reads "The Favorite songs from the Opera Called L'Incostanza Delusa to which is added Six Sonatas for Two Violins with a Bass for the Harpsichord or Violoncello. 1750 Epoch of le Comte de Saint-Germain (lived circa 1691-1788)
Type of Work: Musical work Registration Number / Date: TX0000823655 / 1981-12-23
Date of Publication: December 1, 1981
Date of Creation: 1981
Title: The Music of the Comte de Saint Germain : The Favorite songs from the opera called L'Incostanza delusa, to which is added Six sonatas for two violins with a bass for the harpsichord or violoncello / introductory pref. by Manly P. Hall.
Basis of Claim: New Matter: "introductory pref. by Manly P. Hall."
Description: 2 v. in 1.
Other Title: Sonatas for two violins with a bass for the harpsichord or violoncello
L'Incostanza delusa
Six sonatas for two violins with a bass for the harpsichord or violoncello
The Favorite songs from the opera called L'Incostanza delusa
Copyright Claimant: Philosophical Research Society
Names: Manly P. Hall 1901-
Comte de Saint Germain (1 documents)
example document: The Time machine
Philosophical Research Society, Inc. (218 documents)
example document: PRS journal. Vol. 28, no. 3, winter 1968. By Manly P. Hall
Comte de Saint Germain.THE MUSIC OF THE COMTE DE ST. GERMAIN
THE FAVORITE SONGS FROM THE OPERA CALLED L'INCOSTANZA DELUSA,
TO WHICH IS ADDED SIX SONATAS FOR TWO VIOLINS WIT
COMTE DE ST GERMAIN / SAINT-GERMAIN / MANLY P HALL (Adapted by)
PHILOSOPHICAL RESEARCH SOCIETY (JAN 1999)
TRADE PAPER, 40 pages, 280 x 215 mm.
Prod. # 9780893144166 (American edition)
Category: Music
A photographic facsimile of St. Germain's sheet music is attractively bound in a leatherette edition limited to one thousand numbered copies. The title page reads "The Favorite songs from the Opera Called L'Incostanza Delusa to which is added Six Sonatas for Two Violins with a Bass for the Harpsichord or Violoncello.
Read more: http://www.faqs.org/copyright/transcript-of-manly-p-halls-television-talk-edited-on-n-b-c/#ixzz0mXL3wZyM
Preface
This CD contains first recordings of instrumental works and arias written by the Count of Saint Germain. The arias heard here were taken from the opera "L’Inconstanza Delusa." This opera was written in the so-called pasticcio technique, being made up of the work of several composers, and the count provided these arias. The first performance was so well-received, that John Walsh published a special edition bearing the title "The Favourite Songs in the Opera Call’d L’Inconstanza Delusa" which contains only the arias of the composers Brivio and the Count of St. Germain.
We are pleased to have won the soprano Antje Bitterlich for our group, who brings this long-forgotten music to new life with her shining voice.
The closing song, "Jove, when he saw my Fanny’s face" has been preserved only as a melody. We thank Arthur Weinbrenner for arranging it for our ensemble in the count’s musical style. At the same time, we regret that Arthur Weinbrenner was unable to perform the harpsichord part for this performance. In his place, we welcome Michael Fuerst as the new harpsichordist of the Ensemble Phoenix.
This CD was originally planned as a live recording of the concert on 31 August 2003 in the St. Nicolai Church in Eckernförde. Although the idea of making first recordings of the count’s works in the historical context of this church initially seemed worthy of the task, we have chosen not to pursue this method due to the uncontrollable background noise level.
Given the choice between a studio recording situation and a "live" recording that retains a concert atmosphere, we have given preference to the latter, not least because of the positive response to the first CD with its lively concert character.
As the reverberation in the St. Nicolai Church is too great without a seated public, we chose to make this recording in the St. Laurentius Church in Kosel, an 800-year-old, Romanesque stone church in the beautiful countryside between Eckernförde and Louisenlund. At this point we wish to extend our thanks to Pastor Jens Lehmann for generously allowing us to use the church for these purposes.
The recording technique (a one point recording using a Jaecklin disc) is the same as that used on the first CD. We hope to have made these decisions according to the wishes of our listeners, who can now imagine having been present at the concert given on 31 August 2003, whose program was identical to the one on this record.
Finally, we wish to thank fognin, Eckernförde for the recording, editing and photography, as well as Katharina Mahrt / Atelier GraFisch, Eckernförde, for the making of this booklet, and also Michael Fuerst, Hamburg, for the English translation of the texts and Kenneth Caskie, Louisenlund, for the translations of the aria texts from the original Italian.
This CD is the second in a series with compositions by the Count of Saint Germain (1696-1784). The first, which appeared in September 2002, contains a live recording of the first concert of his works, performed by Ensemble Phoenix on 28 April 2002 in the St. Nicolai Church of Eckernförde and is available under the same label with the number Ehn 84 053.
The Count of St. Germain (1696 ? - 1784)
The story of the Count of St. Germain is full of mystery. He was an alchemist, diplomat and traveller who appeared to have had a very eventful life. His birthplace cannot be ascertained with any certainty, but in some books, he is said to have been born on 28 May 1696 as the first son, Leopold Georg, of Prince Franz II. Rakoczy of Transylvania and his wife Charlotte Amalie in Klausenburg (Cluj). For reasons of security, his father is said to have had the child officially proclaimed dead and sent to a friend of the family in Italy.
His contemporaries described him as a person with exceptional abilities who turned up at various European courts with secret diplomatic missions. This implied for him the use of more than thirty pseudonyms which made his unusual personality undefinable not only to his adversaries of the time. According to his own statements even the name of Count of St. Germain was assumed by him in an action of self-defence with the effect that our knowledge about his origins can only be extremely vague.
His commitment to the peace in Europe, all his science of alchimy, acquired and enlarged on numerous trips around the world, his research of synthetic stones, the development of remedies against poison and the invention of new methods for dyeing fabrics made him many admirers as well as enemies.
Last but not least he also excelled as a brilliant violinist at many society parties and he even turned out to have been a respectable composer. Above all, during his visits to London in the late 1750s he composed and published various sonatas for one and two violins with basso continuo which were also performed at the time. In addition to this, he composed various arias for the opera "L'inconstanza delusa" as well as a variety of compositions called "Favourite Italian Songs".
The Count of St. Germain spent his last years at Louisenlund, the residence of Landgrave Carl of Hesse-Cassel whose financial support resulted in the development of an alloy called "Carlsmetall" as well as in advanced dyeing and tanning methods. St. Germain became the director of the Otte manufactory in Eckernförde.
On February 27, 1784 he died in Eckernförde and was buried in the church of St. Nikolai as certified in the parochial register. There were, however, always rumours that he was seen alive even after that date.
The Instrumental Works
These compositions by the Count of Saint Germain were published from 1745 to 1760 in London. As already explained, the count was not a composer by trade, but the quality of his works and the claims by his contemporaries that in addition to his primary instrument, the violin, he could play several others, imply that he must have enjoyed a profound musical education. It remains a mystery as to when, where, and by whom he was instructed in music; an intensive autodidactic period of study cannot be dismissed.
Stylistically speaking, this music conforms to the tastes to the time, so that aspects of Baroque polyphony can be heard – nearly every movement of the trio sonatas is conceived as a fugato – while being contained by the levity of the Pre-Classic period, also known as Rococo. This is a kind of music typical for court life, designed to tickle the ear at social events.
The Count of Saint Germain left, as did the Bach sons, a unique signature on his music. He had many ideas that left the compositional craft of his time behind – in the development of the fast second movement of the Sonata II for violin, he suddenly brings in the second theme of the slow first movement over the ever-quick running bass. Such aspects of his music surprise and delight the alert listener, as may the lack of development of some themes or the improvisational character of various sections.
In his life, he was perfectly aware of the many rules of conduct that he could observe perfectly when he chose to, and in the same way, the Count of Saint Germain was not satisfied to simply follow the rules of compositional technique. At times, he seems to submit to his desire to pursue a spontaneous idea rather than fulfill formal laws as may be expected.
And his compositions continue to effect the listeners of today.
When we listen to this music, we hear its brilliance and its relaxed "simplicity," as well as the humor and depth in its expression.
The melodic and rhythmic nature of this music makes it seem as if someone was speaking, as if a comprehensible text were at the root of the sound.
The Arias
Taken as a part of the complete works of the Count of Saint Germain, his 46 arias make up the greatest part of his output. This may come as a surprise, considering that the count himself was a virtuoso violinist. His preference for the musical setting of texts may well have influenced his instrumental composition.
Upon closer examination of the texts, the arias seem to be interchangeable in their ordering. This has to do with the so-called "pasticcio" technique, where individual arias by various composers were pulled together to create a short opera which could be performed at social gatherings. In order to fulfill this purpose, each aria must be so constructed that the beginning cannot be exclusively dependant on a previous aria, nor the end on a following one, and at the same time such relationships must be vaguely inherent in every aria, so that they can be strung together. The opera "L’Inconstanza Delusa," whose arias by the count are included on this record but which contained arias by other composers as well, is just such an example. Unfortunately, the complete opera has not been preserved – only the favorite arias can be found in an edition titled "The Favorite Songs in the Opera Call’d L’Inconstanza Delusa."
Further facets of his musical world can be found in these arias: whereas the instrumental works are characterized by intimate expression in the slow movements and by virtuosic liveliness in the quick movements, he forms his arias with a large gesture. The opening themes, with all their clarity, are developed toward the more reflective middle section that makes the returning Da Capo appear in a new light. Always with the same formal structure, every aria is a unique work with unmistakable character.
The song "Jove, when he saw my Fanny’s face" is completely in the style of the English songs of its time, as are a whole series of songs with English texts from the count’s pen. As in the Italian arias, the Count of Saint Germain shows his uncanny ability to feel his way into various genres, not by copying but by creating something new within stylistic bounds.
Matthias Hahn-Engel
Translation Michael Fuerst
The music of the Count of Saint Germain, their rediscovery and the creation of the Ensemble Phoenix
Wer sich heutzutage über den Grafen von Saint Germain informieren will, findet zu Geschichte und Persönlichkeit mehrere Bücher sowie eine reiche Anzahl von Websites im Internet.
Those who now want to inform the Count of Saint Germain finds several books on history and personality as well as a large number of sites on the Internet.
Mir fiel 1994 als erstes das Buch „Unter den Flügeln des Phönix" von Irene Tetzlaff in die Hände. Im Verlauf der liebevoll recherchierten Geschichte dieses abenteuerlichen Lebens fiel mir als Musiker besonders die Tatsache ins Auge, daß der Graf die Violine virtuos beherrscht haben und auch eigene Werke komponiert haben soll, die in dem Buch sogar mit Titeln genannt sind. Was lag also näher, zu versuchen, diese ausfindig zu machen. Nach einiger Zeit der Suche wurde ich 1995 fündig in einem Londoner Archiv. Aufgrund der nicht unerheblichen Kosten für die Mikrofilme wartete ich mit dem Erwerb, da ich zunächst Veranstalter finden wollte, die an einer Wiederaufführung der Werke 1996, zum 300. Geburtstag des Grafen, Interesse zeigten, wovon ich, in Eckernförde lebend, ausging, da der Graf seine letzten Jahre nahe Eckernförde auf Louisenlund wirkte und 1784 in der Eckernförder Nicolaikirche beigesetzt wurde. Ich stieß zu meinem Erstaunen zunächst ausschließlich auf Ablehnung und Mißtrauen.Um so mehr freute es mich, daß die Stadt Eckernförde schießlich im Jahre 2002 zu ihrem 700jährigen Jubiläum zwei Konzerte mit Werken des Grafen in Auftrag gab, die an historischem Ort, in der Eckernförder Nicolaikirche, stattfanden und Zuhörer aus ganz Deutschland anzogen. Das erste Konzert des für diesen Anlaß eigens gegründeten Ensembles PHOENIX erschien auf einer CD, die mittlerweile international Freunde gefunden hat. Neben weiteren Konzerten, im Rudolf Steiner Haus Hamburg und im Goetheanum Dornach 2003, finden nun in der Eckernförder Nicolaikirche jährlich Konzerte mit Werken des Grafen statt, mit dem Ziel, sein gesamtes musikalisches Werk der Öffentlichkeit zu präsentieren.Wie beschrieben, war das Komponieren nicht der Hauptberuf des Grafen, doch läßt die Qualität seiner Kompositionen und das ihm von Zeitgenossen nachgesagte vollendete Beherrschen mehrerer Instrumente neben seinem Hauptinstrument, der Violine, darauf schließen, daß er eine profunde musikalische Ausbildung genossen haben muß. Wann, wo und bei wem, ist nicht bekannt; auch ein intensives autodidaktisches Studium ist denkbar. Stilistisch gesehen bewegt sich diese Musik im Geschmack ihrer Zeit, dh wir erleben Ansätze barocker Polyphonie (in den Triosonaten), befinden uns aber in der Leichtigkeit der Frühklassik, zuweilen auch als Rokoko bezeichnet. Wir haben es mit einer für die Zeit typischen, höfischen „Unterhaltungsmusik" zu tun, die gesellschaftlichen Anlässen den festlichen Rahmen gab - vordergründig.
Der Graf von Saint Germain hat im Vergleich mit seinen Zeitgenossen, wie z. B. den Bach-Söhnen, eine unverwechselbare Handschrift.
I remembered 1994 as the first book "Under the Wings of the Phoenix" by Irene Tetzlaff in his hands. During the lovingly-researched history of this adventurous life as a musician I was struck in the eye in particular the fact that the Count have dominated the violin virtuoso and allegedly composed his own works, which are even mentioned in the book with titles. What could be more to try to make this finding. After a while of searching I find it was in 1995 in a London archive. Because of the significant cost of Microfilms I waited with the purchase, as I initially wanted to find broadcasters who showed on a revival of the works in 1996, the 300th birthday of the Counts, interest, which I, living in Eckernförde went out, because the count his last years near Eckernförde on Louisenlund worked and was buried in 1784 in the Eckernförde Nicolai Church. I found to my surprise, initially only with rejection and Mißtrauen.Um more so I was pleased that the city of Eckernförde schießlich in 2002 in their 700-year anniversary of two concerts featuring works of Count Order was taking place on a historical site in the Eckernförde Nicolai Church, and attracted listeners from all over Germany.
The first concert for this occasion specially created ensembles PHOENIX appeared on a CD that has found international friends. In addition to other concerts, in Rudolf Steiner House Hamburg and in the Goetheanum Dornach 2003, will now find in the Eckernförde Nicolai church year concerts featuring works of Count instead, with the aim of his entire musical work to the public described to präsentieren.Wie was composing not the main occupation of the count, but leaves the quality of his compositions and his close contemporaries reputed perfect command of several instruments in addition to his main instrument, the violin, that he must have enjoyed a thorough musical education. When, where and with whom, is not known, but also an intense self-educational course is conceivable. Stylistically, this music moves in the tastes of their time, that we experience approaches Baroque polyphony (in the trio sonatas), are located but in the ease of the early classical period, sometimes known as Rococo. We are dealing with a typical time court to do "light music", the social events of the festive atmosphere was - vordergründig.
Der Count of Saint Germain, in comparison with his contemporaries, such as the Bach sons, a distinctive signature. Ideen, die das kompositorische Handwerk seiner Zeit nicht bereithält - so erscheint z. B. in der Durchführung des schnellen 2. Ideas that the compositional craft of his time not ready - for example, appears in the implementation of the fast second Satzes der Sonata II für Violine unvermittelt das Anfangsmotiv des 2. Sudden movement of the Sonata II for violin at the beginning of the second motif Themas aus dem langsamen 1. Theme from the slow first Satz über dem weitereilenden Basso continuo - , überraschen den aufmerksamen Hörer ebenso wie der häufige Verzicht auf die Weiterentwicklung begonnener Themen oder der Improvisationscharakter einiger Durchführungen.So, wie er sich in seinem abenteuerlichen Leben über viele Regeln, die er gleichzeitig vollendet beherrschte, hinwegsetzte, um Neues zu erreichen, mag dem Grafen von Saint Germain das bloße Bedienen der erlernten Kompositionstechnik nicht genügt, die Ausführung der spontanen Idee manches Mal über der Erfüllung der formalen Gesetze gestanden haben.
Sentence above the weitereilenden Basso continuo - the attentive listeners surprise, like the frequent abandonment of the development issues have begun or the nature of some Durchführungen.So improvisation, as he disregarded his adventurous life of many rules he dominated completed simultaneously, to to achieve new things, like the Count of Saint Germain mere use of the learned technique of composition is not enough to have confessed to the execution of the spontaneous idea many times over the fulfillment of the formal laws.
Und seine Kompositionen verfehlen - heute wie zu seiner Zeit - ihre Wirkung nicht.Diese Ausgabe soll ein Anfang sein, den vielfach geäußerten Wünschen der Freunde der Musik des Grafen nach einer Neu-Edition seiner Werke nachzukommen. And will miss his compositions - today as in his time - their impact nicht.
Diese issue be a start, the frequently expressed wishes of the Friends of Music of the count after a new edition of his latest works. Weitere Ausgaben werden folgen, geplant ist letztendlich die Neu-Edition des bis dato bekannten Gesamtwerkes, das sieben Violinsonaten, sechs Sonaten für zwei Violinen, Cembalo und Violoncello sowie 46 Arien und einige Lieder umfaßt.
Alle Werke wurden zu Lebzeiten des Grafen von Saint Germain in den Jahren 1745 bis 1760 in London veröffentlicht.
Past issues will follow, eventually it is planned to New Edition of well-known work to date total, the seven violin sonatas, six sonatas for two violins, harpsichord and cello and 46 arias and songs umfaßt.Alle some works have been alive the Count of Saint Germain the years 1745-1760 published in London.
Phoenix Vitae Trio Phoenix Trio Vitae
Nicola Kruse, geboren 1968 in Hamburg, studierte an der dortigen Musikhochschule Violine, anschließend Jazz. Born 1968 in Hamburg, studied violin at the Musikhochschule, then Jazz.
Seit der Gründung 1989 spielt und komponiert sie im Jazzstreichquartett String Thing, das zahlreiche Konzerte im In- und Ausland durchführte und diverse Preise erhielt. Since its founding in 1989, she plays and composes in jazz string quartet String Thing, which conducted numerous concerts at home and abroad and won many prizes. 6 CD-Produktionen liegen bereits vor. 6 CD-productions are already available.
Darüber hinaus spielte sie - teilweise bis heute - in verschiedenen Ensembles für Neue und Improvisierte Musik.
In addition, she played - in part to this day - in different ensembles for contemporary and improvised music. 2002 gründete sie das Chamber Orchestra of Groove, spielt seit 2005 auch wieder klassisches Streichquartett und leitet seit 2006 die Hamburger Young Urban Strings. In 2002 she founded the Chamber Orchestra of Groove, plays since 2005, once again directs and classical string quartet since 2006, the Hamburger Young Urban strings. Sie singt und spielt bei Voice, Strings & Fire. She sings and play in Voice, Strings & Fire.
1996 - 1999 wirkte sie als Theatermusikerin am Schauspielhaus Hamburg. 1996 - 1999 she worked as a theater musician at the Schauspielhaus Hamburg.
Sie wirkte außerdem bei CD- und Rundfunkproduktionen, ua mit Evan Parker, Anthony Braxton, Vinko Globokar, Butch Morris, Carla Bley, Fred Frith und Arkady Shilkloper mit. She has also appeared in CD and radio productions, including Evan Parker, Anthony Braxton Vinko Globokar, Butch Morris, Carla Bley, Fred Frith and Arkady Shilkloper.
Seit 2008 spielt sie mit dem Ensemble Phönix Werke des Grafen von Saint Germain. Since 2008 she is playing with the Phoenix Ensemble works of the Count of Saint Germain. Eine CD mit diesem Ensemble ist in Vorbereitung. A CD of this ensemble is in preparation.
Sie arbeitet seit 1982 als freiberufliche Geigenlehrerin, seit 2004 an der Staatlichen Jugendmusikschule Hamburg und im Streicherklassenunterricht
She works since 1982 as a freelance violin teacher since 2004 at the Hamburg State Youth and Strings class teaching
an allgemein bildenden Schulen. at general schools.
Seit 1995 gibt sie Workshops und Fortbildungen zum Thema „Groove und Improvisation auf Streichinstrumenten“ in Kooperation ua mit der ESTA, dem AMJ, Landesmusikakademien und Musikschulen und schreibt hierfür Popularmusik-Kompositionen Since 1995, she gives workshops and training courses on "groove and improvisation to string instruments" in cooperation with others of ESTA, the AMJ, country music academies and music schools and writes this popular music compositions und -Arrangements für Streicher. and arrangements for strings. 2009 veröffentlichte sie das Lehrwerk „Groovy Strings“ bei Breitkopf&Haertel. 2009 she published the textbook "Groovy Strings" by Breitkopf & Haertel.
Hans-Christian Jaenicke, Hans-Christian Jaenicke,
erhielt mit 6 Jahren den ersten Geigenunterricht, mit 9 Jahren zusätzlich Theorie und Gehörbildung. was 6 years old the first violin lessons at age 9 in addition theory and ear training.
Während seines Musikstudiums besuchte er zahlreiche Meisterkurse, studierte Barockvioline bei Veronika Skuplik und konzertierte ua als Solist und Konzertmeister mit verschiedenen Orchestern und Kammermusikensembles. During his music studies, he attended various master classes, baroque violin studies with Veronika Skuplik and gave concerts as a soloist and concertmaster with various orchestras and chamber ensembles.
Anschließend arbeitete er mit renommierten Musikern wie dem Dirigenten David Coleman (London), Rachel Evans vom Meridian-String-Quartet (New York) sowie dem Cellisten und Komponisten Graham Waterhouse vom Philharmonia Orchestra London zusammen. He then worked with renowned musicians like the conductor David Coleman (London), Rachel Evans from the Meridian String Quartet (New York) and the cellist and composer Graham Waterhouse by the Philharmonia Orchestra London together.
Viele Jahre wirkte er als Primarius des Amsterdamer Klavier-Quartetts. For many years he served as leader of the Amsterdam Piano Quartet.
Er ist Mitglied des Ensembles Phönix seit 2008. He is a member of the Ensemble Phoenix since 2008. Eine CD mit diesem Ensemble ist in Vorbereitung. A CD of this ensemble is in preparation.
Für die Landesbühne Niedersachsen-Nord war er als Studio- und Bühnenmusiker tätig und komponierte Bühnenmusik für das Theaterfestival Erlangen. For the Lower Saxony State Theatre-North, he worked as a studio and stage musician and composed music for the theater festival in Erlangen.
Rundfunkaufnahmen und CD-Produktionen für SONY/BMG haben ihn darüber hinaus als Tango-Geiger und Komponisten international bekannt gemacht. Radio recordings and CD recordings for Sony / BMG have also made him as a tango violinist and composer known internationally.
Matthias Hahn-Engel,
Matthias Hahn-Engel, geboren 1954 in Schleswig, spielt Violoncello seit seinem 10ten Lebensjahr. Born in 1954 in Schleswig, cello playing for his 10th birthday. Bereits als Schüler wirkte er in zwei Jugendorchestern und zwei Streichquartetten mit, von denen eines mehrfach Preisträger bei Jugend musiziert wurde. Even as a student, he participated in two youth orchestras and two string quartets, of which a multiple winner was played at youth.
Nach dem Studium der Schulmusik an der Universität Osnabrück folgt eine langjährige Unterrichtstätigkeit an den Kreismusikschulen Nordfriesland und Schleswig-Flensburg neben der Mitwirkung in zahlreichen Konzerten als Solist und in Ensembles in Deutschland, Skandinavien und der Schweiz. After studying music education at the University of Osnabrück follows many years of teaching at the music school district of North Friesland and Schleswig-Flensburg, in addition to participation in numerous concerts as a soloist and in ensembles in Germany, Scandinavia, and Switzerland.
Bis heute ist er freiberuflich als Cellolehrer im Raum Kiel tätig.1994 Gründung der Salonformation Herlich Engel Trio. Today he is a freelance cello teacher in space Kiel tätig.1994 establishing the Salon Formation Herlich Angel Trio. 2002 Gründung des Ensembles Phoenix, von dem bereits 2 CD-Produktionen vorliegen und eine dritte in Vorbereitung ist. 2002 foundation of the Ensemble Phoenix, there are already two of the CD production and a third is in preparation. 2004 folgt die Gründung des Trios TangoDiMar (internationale Tangos). 2004 is the foundation of the trio TangoDiMar (international tango).
Seit 1996 Aufbau seiner Konzertagentur, mit der er seit Dezember 2001 in Eckernförde ansässig ist und die er 2004 um den Verlag zur Produktion von CDs und Noten mit Werken des Grafen Saint Germain erweitert hat. Since 1996, building his music agency with which he is established in December 2001 in Eckernförde and it has expanded in 2004 by the publisher for production of CDs and sheet music with works by the Comte de Saint Germain.
Friedrich Melchior Grimm (revisited) The man carrying this name, who shaped modern european philosophy, art, society and geography, was infact born Gioachino Cocchi, musician. He is mostly known today-eversince 1745-as comte de Saint Germain but also used a few other interesting names (yet unknown, or at least never publicized by Saint Germain's authors and authorities until now).
Readers are advised to first read-through relative study at.....
http://www.online-literature.com/for...ad.php?t=15023
The discovery that "Melchior Grimm" never truly existed, that he was another face of le comte de Saint Germain, could perhaps be labelled "of major importance" or even "extremely radical" in what concerns modern history, philosophy and society as well as the corresponding "scholarly sources" or lack of.
Faced with the immense amount of online info on M.Grimm, yourstruly could not really make up his mind on his next course, how to handle the matter alltogether, and was more or less inclined towards simply proving his "grimm discovery" by presenting herein his evidence in a convincing "scholarly" manner, hence he granted himself the appropriate time, till late August, to prepare, also allowing for a few days by the sea.
Things did not turn out as he planned however: Soon after starting his "Melchior Grimm tour" another stranger appeared on his screen, le chevalier de Chastellux, insisting that his " Voyage dans l'Amérique septentrionale, dans les années 1780, 1781 et 1782" provided the answer to the alleged visits of mythical "comte Saint Germain" to the USA. .
Washington's, Jefferson's and Franklin's correspondent, le chevalier or marquis de Chastellux was yet another important alias of Saint Germain. The relative pile of webinfo, added to the corresponding "Grimm" pile, made life extremely unpleasant for yourstruly with his long formed and expressed opinion and "esteem" for the particular quality of scolarly truth and it's veil, carefully covering Saint Germain and everyone related to him:.
'Your "two hudred years of Poe scholarship" reminded me of Mr Bean clumsily trying to repair the portrait he accidentally damaged, finally destroying it! ' was his wicked response, 2 June 2008, to Wiki's "Poe expert" rejecting his Al Aarraf contribution, this same conclusion now further strengthened by his last discoveries.
When Gioachino Cocchi (as Saint Germain, Grimm AND Chastellux) is placed alongside his cousin Charles Nicholas Cochin(fils), 1750-1788, the need to rewrite History is certainly evident but not yourstruly's beer.
Counting resources he decided to limit himself to the bare essentials. "Everybody but me is a liar" was an egoistic statement, he knew well, but in his particular case there was no other option: He had to prove his truth, to do it, he had to prove the others "false"-when applicable-not least among them Saint Germain himself.
To follow:
Presentation of sufficient evidence to prove that Melchior Grimm and Le chevalier de Chastellux were in fact aliases of Gioachino Cocchi/Augustin Henry Cochin aka le comte de Saint Germain Part I
The remarkably common lack of any family or other personal life details on the online biographies/tales on Saint Germain, Cocchi, Grimm and Chastellux cannot on its own be considered either proof of their common identity, or evidence of an artfully planned conspiracy to hide the fact .
The same applies for the thousand or so unanswered questions with regard to "their" common talents (opera buffa, theater, botanology, chemistry) philosophical viewpoints, friends etc etc. ("How did "german Grimm" learn french so quickly? Why did he support italian opera buffa? How did he manage to conquer french literature? etc etc)
When a detailed timeline however is prepared, including enough details concerning their presences or absences to various parts of the world- excepting "largely unknowns" Cocchi and Cochin*(footnote), the others are all labelled today as great travellers- the lack of any overlap, the harmonious coincidence of their arrivals, stays and departures is such evidence and much more than that.
It's the confirmation of Saint Germain's myth, it is the basis for a true study of his unique character.
With "Grimm"-last alias to survive- tactically withdrawing and covering up-in his "Correpondence Litteraires, anecdotiques..."-his other main aliases (Chastellux, Saint Germain and "Claude Louis, comte de Saint Germain") and with his Cochin-Caussin descendants returning to Paris ready to continue their under cover "Mercer dynasty" in -their friend**- Napoleon's regime, one can easily understand the reluctance of many of their later friends and associates, like Chateaubriand (on Grimm (http://tkline.pgcc.net/PITBR/Chateau...hatindexG.htm), "Mme de Crecqy"-Cousin de Chourchamp- (On a naughty comte de Saint Germain making a fool of le chevalier de Chastellux http://penelope.uchicago.edu/crequy/index.shtml) and naturally earlier friends and authors like Voltaire and Rousseau, fully under Cochin "influence".
It was "Grimm" in fact who first established "Saint-Germain, Claude Louis, comte de" (Mémoires de M. le comte de St. Germain ... éscrits par lui-même. Amsterdam, M. M. Rey, 1779. MiU (Amsterdam, 1779...London, 1781). (http://www.history.uiuc.edu/people/j...de/part2/18th/)
Because it was he who later published in his "Correspondence", first ever, the letters of "his" comte de Saint Germain, war minister of France, establishing his presence in Copenhagen in an article by an unknown author who went as far as to claim that le comte de Saint Germain was in fact Rousseau***(NOTE), the attrocious claim immediately rejected then with horror by the know-all editor "Grimm-Saint Germain" (Correspondance littéraire, philosophique et critique ... p.548)
It was "Grimm" who kept a close eye with regard to his Chastellux alias as well, almost revealing his aliases nomdeplume sole existence.....
"Nom qui portait encore l'auteur, il y a deux ans." (about le marquis de Chastellux in 1785)
p. 517 "Correspondance littéraire, philosophique et critique ..."
books.google.gr/books?id=Qz00AAAAMAAJ...
...and it was he who labelled George Washington "Chastellux's God" writing to his friend Diderot
«C'est le Dieu de Chastellux», écrivait Grimm à Diderot._Correspondance_, X, 471
http://www.ihaystack.com/authors/b/t...erique_pendant
Footnotes
*the copy/copyright protected site..... http://g.alhinc.free.fr/Epinay..... lists about 14 presences and 4-highly enlightening- absences (marriages or deaths of his children in his absence) of Augustin Henry Cochin from his "seigneury", all highly revealing.
** See a)marriage of : May 1778 Augustin Henry Cochin's daughter, Marie Henriette, 19years old, to Claude Joseph Gabrielle de Vaulx, father and mother of the bride present.(Viscount de Vaulx, +1809, Marshal of France)
see b) Napoleon/s acceptence in the school of war in 1784, while "Comte Saint Germain", who renovated and opened the school shortly before, was in control of France (to be verified lateron) .
HOWEVER:
Saint Germain's post 1784 actions (as Al.Serg. Stroganov -as discovered further down this thread) , the assasination of Paul I and Stroganov descendants military participation against N (russian campaign), indicate that their friendship did not last. Did Napoleon attack "Stroganov's" Russia? That's a good question for the historian of the future to answer!
*** The "parallel lifes" of all Saint Germain's aliases to Rousseau's have been studied in the meantime in detail (along with the "other similarities" -mainly between the works of "La Dixmerie" and Rousseau and the common talents of Cocchi/Gluck/Chastellux and Rousseau): Yourstruly hesitates to phrase his attrocious conclusion at this stage!
Part II
If Saint Germain had his private reasons to create, maintain and immortalize his multifaced myth, so did also his contemporary and later, till the present, historians, their efforts to conceal and diminish him (keeping his personnae apart) so obvious in every book and every relative article. There is no need to further drive the point home, but one would expect, by some authoritative sources at least, to be less obvious in their endeavours. Such as, for instance l’Académie française:
M. le chevalier de Chastellux, ayant été élu par l’Académie française à la place laissée vacante par la mort de M. de Chateaubrun, y est venu prendre séance le jeudi 27 avril 1775*, et a prononcé le discours**....:
Buffon his (Cocchi's/Grimm's) friend, directeur de l’Académie at the time sitting in "fauteuil" #1 and Chastellux was given the seat next to him, #2.
Such info can be found on related articles on him, but the fact he became president of the Academy later on (around 1783) is carefully avoided today, not just by wiki-pedias but by the Academy itself, and one has to rely on the word of abbe Morellet:
Le chevalier de Chastellux , directeur de l'académie à l'époque (1785) de ma réception.
(Mémoires de l'abbé Morellet ... sur le dix-huitième siècle et sur ... - Google Books- André Morellet - 1821)
Keeping the "quality of truth" in mind, let us now return to continue our "presentation":
Many such interesting details are revealed by our lengthy timeline, previously mentioned, but it's simply much too detailed to be presented herein, therefore the "cherchez les femmes" method will be next apllied to reach our q.e.d .
Among their other common characteristics, our heroes also shared their admiration for the fair sex not just in their common love affairs but also in their common affection to the offsprings thereof.
"Grimm" for instance was "vehemently" in love with Marie Fell, the "primadonna of the italian opera company", the same who purchased her Chaillot house later on from "Augustin Henri Cochin"-Cocchi after his divorce from his wife (around 1778).
"Grimm's" remarkable admiration for Catherine II of Russia, so evident in their- still partly unknown- correspondence, yet only explainable through Saint Germain's alleged involvement in her 1762 enthronement, the 1764 transfer of a large part of the Medici art collection (The Uffizi was under Raimondo Cocchi 1758-1775) in L'Ermittage, Charles Nicholas Cochin's own relative personal involvement, reward and decoration by Catherine II (Ed.Goncour).
Lastly, their simultaneous (Grimm, Dupin and Cocchi as per The Poe Announcement) affection to Mme d'Epinay, their common presences and theater presentations at "la Chevrette" (Chastellux-and Rousseau-included).
Their common children and grand children,such as- but not limited to- Angelique and Emilie
Regarding "François-Jean de Beauvoir*** de Chastellux's" later life marriage to Marie-Josephine-Charlotte-Brigitte de Plunkett and their son Alfred: A separate chapter will follow later on herein, once relative research is sufficiently completed. http://gwpapers.virginia.edu/index/p...ial/clist.html
Footnotes
*In this very same year:
In 1775 (27th) October, on the death of the Marechal du Muy, the ascendency obtained by the sect of innovators occasioned M. de Saint-Germain to be recalled to Court and made Minister of War.27 October 1775 US revolutionary congress authorises banknotes. "Grimm" was made a baron of the Holy Roman Empire in 1775 and "became minister of Saxe-Gotha at the court of France in 1776", while cousin Charles Nicholas Cochin (fils): En 1775, les Observations sur les ouvrages exposés au Louvre commencent ainsi : «Quelque rassasié que M. Cochin puisse être des éloges reçus en tant d'expositions (1)…» Et Diderot lui-même, emporté par l'éblouissement public, finit par le reconnaître pour le «premier dessinateur français».
** In Chastellux's touching speech one finds the word "grec" mentioned 15 times, "Muse" 9 times, "lati(n)" 7 times and "Franc(e)" 5 times.
***"Beauvoir" is the same as "Bellegarde"
Part III Interesting as they may be, we'll leave aside for the moment the details of our hero's life long relation to Mme d'Epinay or their daughter Angelique...
(Angélique Louise Charlotte dite Pauline LALIVE d'EPINAY, o La Chevrette 01.08.1749 + Gémozac 01.06.1824)
....to concentrate on their grandaughter, the famous Emilie, daughter of Angelique and Dominique de Belsunce, her husband*(Note 1).
Because Emilie, who allegedly hosted our hero (as "Grimm") in his later years in Gotha.....
...in 1777 he left Paris on a visit to St Petersburg, where he remained for nearly a year in daily intercourse with Catherine. He acted as Paris agent for the empress in the purchase of works of art, and executed many confidential commissions for her. In 1792 he emigrated, and in the next year settled in Gotha, where his poverty was relieved by Catherine, who in 1796 appointed him minister of Russia at Hamburg. On the death of the empress Catherine he took refuge with Mme d'Epinay's granddaughter, Emilie de Belsunce, comtesse de Bueil. http://tkline.pgcc.net/PITBR/Chateau...ChatindexG.htm
......HAS the evidence we have been looking for to doublecheck our theorem that Gioachino Cocchi IS Augustin Henry Cochin (seigneur d'Epinay, du Breuil etc) IS le comte de Saint Germain, IS Grimm, IS Chastellux, IS*(Note 2) Claude Louis Dupin de Franceuil.....
....but for this slight misspelling: "Bueil" instead of "Breuil"!
There was noone else in her circle she could have inherited the "du Bueil" title from but her loving grandfather, A.H.Cochin "...seigneur du Breuil".
Is there, in this newly reordered world of ours, a man so impudent as to go against the authority of Encyclopedia Britanica and the rest of "them"?
Yes, there is:
In his "The Story of a Throne (Catherine II. of Russia), 1971" Kazimierz Waliszewski writes on Grimm:
"Rather late in life he had come to have quite a family: Emilie de Belsunce, granddaughter of Madame d'Epinay, married to the Comte de Breuil...." *(Note 3)
One must assume that the author had sufficient access to Catherine II' s letters to "Grimm" (the letters were returned to Russia in 1813) to spell Emilie's title correctly-and go against the "western lore"- but was also provided, by Emilie, the wrong information re the source of such title.
In other words, Emilie inherited the "Du Breuil" title from her grandfather (who allegedly sold the Epinay sur Orge property before he "died" in 1784:En 1785 il y avait Gilbert Georges de Montcloux, fermier général du roi....il vendit le moulin du Breuil au Bailli de Crussol, déjà propriétaire de la Gilquinière qui, acheté par la ville de Paris, sera le futur site de l’hôpital de Vaucluse) and she propably was in litigation with but "avoiding" Paris at the time of "Grimm's" death and later on (Until an overall settlement was reached, including "Grimm's" Livadia property, today Yalta, Ukraine-see next posts).
Q.E.D
(In view of other current commitments- and installation of new hardware-this thread will not be continued for a while)
Note 1:see The Project Gutenberg e-Book of Mémoires d’Outre-Tombe, Tome II, Note 19:
Le comte de Belsunce, major en second du régiment de Bourbon Infanterie. ..... près de son parc de la Chevrette, dans la forêt de Montmorency, ... conclusion: Angelique inherited La Chvretee from her mother Mme d'Epinay IF NOT from her real father!
Note 2: In her Memoirs Mme d'Epinay gives an interesting account of her simultaneous-for a while- dating of both Dupin and Grimm, the latter gaining her confidence soon after. The different fates of her son (by Dupin?) and daughter(Angelique, by Grimm) indicate that the two men were different personalities, ie "Grimm IS Dupin" only(?) because Dupin has been assumed "vraisembleument" to be the father of Angelique.
Note3: When they were married however HE was not a "Du Beuil" BUT SHE was "du Breuil"
See T319 Papiers du Bueil et Grimm at
http://www.archivesnationales.cultur...e/T301_345.pdf
In 19th March 1786 Renee Therese Emilie de Belsunce was married to Alexandre Louis Auguste du Roux de Chevrier in France.
The title Du Bueil was granted to him by Charles X, in 1827. The couple, sometime after 1792?, moved to Russia and then to Brunswick 1798-1800 Even if yourstruly purchased the capacity to remain indefinitely online, boot large amounts of text, open pdf files etc- essential requirements to study his main hero and his entourage better-he is still undecided as to the most appropriate way forward of this here “new thread” or article concerning le comte de Saint Germain and his aliases and true role in “world history”.
A matter of taste mostly rather than anything else, the character complexity of subject and the amount of work involved amply compensated already by the perpetuous mirth and amusement created by this unique situation yourstruly is finding himself lately, having communicated not just with America’s hardest to understand poet but with la crème de la crème of France’s finest gens de lettres, he, a greek barely able to read and understand French.
Questions like “Why me?” or “If I can see IT, why others didn’t in the past?” should really be answered by others and furthermore there is this flaw of character thing, shuting off his research motor soon as curiosity is sufficiently satisfied while the “prose writing motor” refuses to start.
Curiously, his hero, as “Grimm”, has been accused for the same, more or less, character flaw:
In his “PRÉFACE” of Rousseau’s “confessions”, monsieur Jules CLARETIE de l'Académie française, vehemently attacks “Grimm” (C'est un assez médiocre personnage que ce Grimm….Grimm, cancanier vulgaire, critique de théâtre d'une infériorité absolue, sorte de reporter érudit, comme on dirait aujourd'hui…) while declaring himself unable to comprehend why and how “Grimm” “protégeait Diderot, le prenait en amitié!”
Monsieur Jules fails to mention that it was not just Diderot but also Rousseau AND Voltaire who saught “mediocre Grimm’s” protection and friendship to their last, but does subconciously link his “Grimm” to Concino quoting Eleonora Caligaia * (not Galigai as usually written to make her French):
…Galigaï retourné: "J'avais sur la reine, disait la maréchale d'Ancre, l'influence qu'ont les esprits forts sur les esprits faibles!"
Your “mediocre Grimm”, monsieur, was “otherwise occupied” working for France and could not afford to waste his time writing a page a day.He (Chastellux) was however paralleled to Montesquieu for his history writings by none other than Voltaire.
French academicians have apparently forgotten Charles Nicholas Cochin’s “Misotechnites” and their important place in modern society.
Next: Everything is possible with music!
*"Καλιγά" today, a well known name from the Ionian isles and a good wine also. Originaly "Καλιγαία" meaning fertile land! Everything is possible with music! Two hundred years after his loss, it is perhaps time to say a few words to the memory of the man who, among others, also “managed” european music and, practically, all music masters of the second half of the 18th century!
As the lighter of other issues arising out of our revelation, music is our “next post” choice, the goal still being to persuade our readers of the soundness of our findings.
Gioachino Cocchi, an accomplished composer and stage manager already, Paris 1752, as “german Grimm”, started, with his “Le petit prophète de Boehmisch-Broda”, the “war of the buffoons” favouring italian Music to Rameau’s and, shortly before his appointment to the French Ministry of War(as Claude Louis comte de Saint Germain) concluded the next debate, “gluckists vs piccininists”, favouring his old friend , the “bohemian” Gluck, as “Chastellux” (a name first used by him in Vienna. See Metastasio’s letter to chevalier de Chastellux, 15 July 1756 :
“Your Highness ... I have made every effort to restore music to its true role of serving the poetry by means of its powers of expression...” )
...by not just anonymously translating to French Algarotti’s “Essai sur l’Opera”, published in Paris 1773, but also by translating and performing by Mme d’Epinay’s at La Chevrette and at Mme Genlis’s theatre in Chaussee d”Antin, Gluck’s Iphigénie en Aulide (1774) and propably “…en Tauride” as well (1776).
Gluck, Vienna’s court maestro before -and with many visits to London-a friend of J.C.Bach-who replaced Cocchi in London, around 1754-certainly knew him well and so did propably Rousseau (who did enjoy Gluck’s Paris performances as above at the time, a mystery today for music researchers, how he, “their" choice for buffonist leader, deviated from his earlier beliefs!)
....and...
....shortly before his trip (as Chastellux) to America, 1778, his hosting (as “Grimm” living with Mme d’Epinay then) of Mozart junior to Paris, their intended cooperation gone sour because of Mozart’s youth and singularity of character and his host’s “other duties” and personal problems all accumulating then. Yet we have as a result Mozart’s precious correspondence to his father providing us with details of our hero’s life at the time.
He knew**- and was of the same age with-Gluck (and Rousseau too and who is to say who the real composer of his "Devin" was) from their common stay in Naples and Venice, was propably impressed by and attacked him ironically as the “petit prophet from Bohemia"*-see note below- in 1752 but his choice for “Melchior Grimm” certainly came from a book:
“Der abenteuerliche Simplicissimus Teutsch, d.h. die Beschreibung des Lebens eines seltsamen Vaganten, genannt Melchior Sternfels von Fuchsheim” ....the greatest German novel of the 17th century by Hans Jakob Christoffel von Grimmelshausen.
His main task was indeed grim from then on and that's why Cocchi stopped producing opera pieces soon thereafter!
But, as stated, music has been the least of our concerns: The past few days the “parallel lifes” of “Chastellux”, “Grimm” and Cocchi have been examined in detail via his evergrowing timeline (some 80 pages A4 by now) and as it turns out, our multifaced hero’s cv is in fact so “dense”, so full, so important, fundamental and fascinating, as to distract the coolest of researchers.
It was therefore with great difficulty yourstruly could supress his emotions, keep his wits together and then dare separate relevant music personalities from others, even greater in their fields (political, philosophical, military).
Such must-and do-go, in real life, together but then, if this job, to keep them apart, is taken from our dear scholars, what would they do to earn a living?
Note *In 1752 Gluck was in Naples, where he had been called to compose an opera for the Teatro San Carlo. Although it was not originally intended for him, the libretto he decided to set was Metastasio’s La clemenza di Tito (copypasted from the web). 1750-51 Cocchi staged his operas in Venice and Metastasio was closely linked to him and family!
Note ** Following completion of this thread, yourstruly has realised that "Christoph Willibald Gluck" is, most propably,yet another persona of Cocchi, something that can easily be verified by those who have access to the text of "Le petit prophet" and enough interest in classical music (enough to call Romain Rolland-among others- a liar!). Among other relative evidence also see: Vitt-Maucher, Gisela. "E. T. A. Hoffmanns "Ritter Gluck" und E. A. Poe's "The Man of the Crowd": Eine Gegenuberstellung," The German Quarterly, 43 (1970), 35-46.
addendum to note**: In the meantime part of Le petite Prophete (first published 1744) has appeared online (Music & Culture in Eighteenth-century Europe by Enrico Fubini, Bonnie J. Blackburn, Wolfgang Freis, Lisa Gasbarrone, Michael Louis etc-THANKS). The text confirms imo that "Gluck" IS young Cocchi (aka Grimm, Chastellux, Dixmerie, Rousseau etc) and IS Saint Germain (a demonstration of tremendous self confidence and unlimited "Bourbon support" at the time)!!!
In short:
Our hero’s task, from 1752 to 1784, was not just to manage,control and censor muses, literary arts and sciences (alongside with cousin Charles Nicholas Cochin responsible for the secondary arts):
His main duty was what one would call today “Ministry of Culture” or in those Days “Propaganda fide”: To promote France’s interests worldwide.
Many worked for him but he also personaly undertook “frontline” assignments such as his travels to Russia and America.
He worked as a double agent within France as well: Monmorency,where “Epinay sur Seine” and La Chevrette are located, was Duc d’Orleans territory.
He lived in constant danger consequently and had to use multiple identities, had to lie, had to use other people’s identities when needed and, occasionally, have others appear propably as “Saint Germain”.
He was a planner, a stage manager, a protagonist, an actor, a liar…
….BUT….
He (as Grimm, Chastellux or Saint Germain) NEVER(*note) once mentioned the family name, in any form, in his (their) works, he NEVER revealed the family secret!
In his later years he himself tried to “correct” parts of his “other lifes” realising that “Chastellux” and “Grimm” at least would be scrutinised by historians and his main “lie” would leak, he therefore collected and send to his trusted friend Catherine not just her correspondence to him but Voltaire’s library, including her letters to Voltaire, Galiani’s, Diderot’s archives and anything else of relevance propably as well.
His correspondence to Mme d’Epinay is lost, what she, and other “salonieres” published , he controlled to begin with.
Rousseau’s “Confessions”-see JJRousseau's indicatory wiki bio: The work was "partly published", 1782, after Mme d'Epinay "stopped" him writing. "Grimm" was , understandably, absent(!)-remind the reader too much of their comic opera to be taken seriously historically!
On top of all that: His literary work was subsequent censored, modified and falsified by his eager biographers, friends and foes alike, the former to protect the Bourbons, the others to diminish him.
As such very little written on (or by) him is “dependable”.
Having double checked his “pile of piles” of a timeline, the following two “minor discrepancies” -only(!)-were found concerning his trips to Russia (late 1774-mid 1775) and America (1780-1782 as per his book), ie his two most important foreign diplomatic assignments by far.
A.With regard to the latter (first discrepancy):
He did not arrive to America with Rochambeau’s force-as often written-but later on in the year: He is registered present in his seigneury Epinay sur Orge on 17/06/1780 (at http://g.alhinc.free.fr/Epinay/Annees/1780) accompanied by his wife “Germain Marie Louise Elisabeth(F), reside a Paris, epouse du Parrain” ....
.....to be then welcomed by Rochambeau ….
...September 20, 1780 (Wednesday) Rochambeau and Chastellux made a round trip through Bolton during the trip to the Hartford Conference. They stayed at the White Tavern on Hutchinson Road, now Andover. (Bib 1 note 17 on pg. 25)
Back in France, his place (at Epinay sur Orge) is taken by a cousin of his “Cochin Henry” Conseiller d’etat seigneur d’epinay, (2/09/1780 ), who later declares himself as Cochin Henry avocat -garde archives de Lorraine**.
This happens 18/8/1782 at the funeral of his (Cochin-Cocchi-Chastellux's etc) daughter Marie Henriette’s (23 ans), also witnessed by Lambert Jean Philippe conseiller dy roi but not by either parent of unfortunate Marie!
As such, data of the Epinay sur Orge registry (site online) are trustworthy, something to remember while examining the second “discrepancy” in next post.
*Note: highly indicative that Chastellux even ommits astronomer Cassini from his books.
** Definitely another person, despite the name likeness: A branch of the family did live in Lorraine and was indeed in control of the Lorraine archive whereas our heroe's duties are registered (in same site) differently (councelor of the King, intendant of finances etc). The next discrepancy is not really minor:
11th October 1773 our hero is registered at Epinay (sur Orge) witnessing a marriage of a young couple with amusing (in bold) names…..
St marc Antoine Louis, 23 ans, résidant… Paris, Rue des 4 fils ,Ecuyer munitionaire des vivres, (S) fils de St marc Alexis Louis, Conseiller secretaire du roy, (S) et de Grosposte Scholastique, résidant… Paris, rue des 4 fils Ballon defferant Marc Marie Elisabeth, 17 ans, mineure, résidant… Paris rue St antoine, (S) fille de +Ballon defferant Claude Nicolas, Colonel d’infanterie, (S) et de Lavier Elisabeth , résidant… Paris rue St antoine
Tem: .Gosselin Alexandre Marie, résidant… Paris,rue des 4 fils, (S)
Prieur Jean, résidant… Paris rue du vieux colombier, ami de l’époux, (S)
Cochin Auguste Henry, résidant…Paris, rue de l’universite , ami de l’épouse, Intendant des finances, (S)
Baize Bernard Hyacinthe, résidant… Paris,rue de l’universite , ami de l’épouse, Controleur general des finances
( http://g.alhinc.free.fr/Epinay/Annees/1773)
….whereas his otherself, “Grimm”, is known, historically, to have been at St Petersburg, September 15th 1773 to spring 1774.
Wilhelmina Luisa von Hessen-Darmstadt was getting married to prince Paul, the wedding scheduled for October 9th, 1773, and Grimm accompanied her as her father(?), Kaiser Joseph I-this info, translated from a german site, is wrong! Joseph I died long before 1771-made him a baron in 1771.
Having –in previous post-labelled “dependable” his data of above Epinay site, what are we to assume, whom are we to trust?
Is every “scholar” lying ……
OR
….was our “unique revelation” on the main identities of Saint Germain so ridiculously WRONG? Last edited by yanni; 07-25-2008 at 11:25 AM. Reason: text 07-25-2008, 11:15 AM #10 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 Turning Pb into Au and v.v. Part 1
The closing question of last post, dear reader, kept me (“yourstruly”tires me) in meditation the last couple of days:
Not that I was for one moment unsure on the correctness of my findings and relevant statements made- the mind always knows better than the pen-but imagine what my virtual “scholarly opponent” would have made out of my hero’s “last discrepancy” at his Epinay (sur Orge) precious register!!
He falsified it and, like the historian he was, left his mark behind.
There is a clear message in the words he selected:
Grospost, Scholastique,Ballon,defferant:
No matter how the words are reordered, the message is
this is a gross lie, an empty message created out of neccessity by someone who cares for the detail,….
In addition:
Munitionaire des vivres:
An official position in French military, guardian of live munition (gun powder, explosives), “varatario” in Italian, the word already mentioned in “Poe Announcement”, a post held in Hydra by his cousin, Lazarus Cocchini*(Note below).
See also: p42 “Documents Illustrative of the Canadian Constitution” (Article 23, The capitulation of Montreal)!
rue des 4 fils :
Housing today the “fonds” of the pre-Revolutionary Academy of Art:
(Fonds de l'acadιmie : Archives nationals (rue des 4 fils).
http://byc.ch/hga/ressources.html it propably housed the Academy itself back then!
Thus his message should now read as above plus …. an artist at war
At the time he was all of that and more (In following part 2)
*Note: Not just Hydra: Recent research indicates that "Saint Germain" (under an alias-initials P.S.K.- still existing in Russia, hence not to be revealed) was captain of the guards of Saint Petersburg, 1774-5, and owned a house in the ammunition yard next to Catherine's Palace Last edited by yanni; 09-24-2008 at 04:13 AM. Reason: add note re his "varatario" duties in Saint Petersburg!! 07-26-2008, 01:11 AM #11 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 continued from previous Part 2
No, not magic, just hard work:
His coded message was ONLY received AFTER* (note 1) his timeline was filled in detail (1769-1775) and then examined together with relevant books**(note 2).
There were other letters as well written by him while in Russia at the time (I.Gorbatov) and the conclusions:
-he was indeed in St Petersburg***(note 3),
-did trust Voltaire
-(and therefore his Epinay data were “not so dependable”)...
...were thus reached….
….but “something was wrong" with Mlle L’Espinasse’s correspondence to Guibert and had to be clarified! (part 3 following)
Note 1 Before that, when the second discrepancy was originally noticed, the first thoughts were: He had either persuaded Catherine to mislead Voltaire (her letter to Voltaire re his presence in St Petersburg as from September 15th, 1773) for some reason or that he perhaps had falsified her correspondence, following Voltaire’s death in 1778, when he intermediated for his library and her letters be send to her in Russia.
Note 2 Mainly:
a)The Republic of Letters: A Cultural History of the French Enlightenment by Dena Goodman.
b) The Story of a Throne (Catherine II. of Russia) by Kazimierz Waliszewski
c) Full text of “Letters Mlle De Lespinasse”
http://www.archive.org/stream/letter...68mbp_djvu.txt
d) Catherine the Great and the French Philosophers of the Enlightenment (Inna Gorbatov).
Note 3 Narishkin(not Cocchi-"Grimm") accompanies Diderot from Holland to St Petersburg. The wedding scheduled for October 9, 1773. They arrive October 8th. Everybody knew the wedding was engineered by Grimm. (p167, 168 ) Catherine writes to Voltaire(Sept 11/22,1773) that Grimm has been in Petersburg from the mid September 1773. Grimm writes two letters to Nesselrode, 2nd and 19th November 1773(page 176) and another two Jan 14th and feb 7th. Frederick dislikes Diderot (p180). From September 1773 to April 1774 Grimm met and had long conversations with Catherine almost daily. (p214) -in page 213 the “classic story” on Grimm. In pages 221-222 few letters she wrote him 1779(one), sept 7, 1780 (one) and then 1787 (one) and 1791 (one) etc. (I.Gorbatov) Last edited by yanni; 08-30-2008 at 12:10 PM. Reason: text 07-28-2008, 07:51 AM #12 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 continued from previous Part 3
“something was wrong" with Mlle L’Espinasse’s correspondence….
Mle L’Espinasse and her letters to Guibert*(note 5) (June, 1773 to December, 1775) guided me to the recent discovery of Kaiser Frederic’s correspondence to “Grimm&Co" and thereby to Frederic’s older links to Cocchi&family *1(note below). Having in the meantime supplemented my timeline accordingly, I can now neither complain for the nauseating and nonsensical nonentity of her and- the sorry adventure of-her “correspondences“, nor for the distinct limits of imagination of her numerous creators*2, among them a “M.Charles Henry“- known to us already from the Poe Announcement, Cocchi’s only known "french legitimate" son who also kept Charles Nicholas Cochin(fils)'s unpublished biography- who appears among her editors in 1887*3, ie posthumously! (27 June 1771 at Epinay sur Orge: The baptism of Cochin Henry Charles (4 months old) father and mother absent)
In a philanthropic mood today, I moreover refuse to address the issue of her fictitious character from a psychoanalytic perspective and do really feel a compassion for the many lost souls who were taken in to do so over time, lady writers in particular!
Mle L’Espinasse’s freakish carricature, who allegedly “assisted’’ Chastellux obtain a seat (#2) in Académie française, le 27 avril 1775.....
.....was in fact born 1809 specifically to give life to “Grimm, Chastellux and Claude Louis de Saint Germain’’ for reasons already explained (see also note 2).
She did exist nevertheless (possibly as Mme d’Epinay’s alias-a part of her lost correspondence to Cocchi-"Grimm" is possibly used) eversince 1775 but was highly suspect and "invisible" at the time and thereafter, otherwise Buffon, Cocchi’s associate and president of the Académie française-(fauteuil #1)-who promoted "Chastellux" to his Academy as above, would not have written his February 25th 1775 LETTRE CCXII A MADAME NECKER insisting he had never seen her.
For all the above, my compliments to her creators as well as those who maintain her myth-among others-those in particular who have…..
….décidé de se limiter, dans un premier temps, à ce qu'il est convenu d'appeler la «période Grimm», celle qui va….a fin février 1773.*4
They helped me a lot!
Bonjour La France
Note 1: google for "Barbara Campanini, Ludwig and Heinrich von Cocceji" -will it ever end this name game? !
Note 2:ready to justify all adjectives used if needed, preferably when the summer is over.
Note 3:Lettres inédites de Mademoiselle de Lespinasse à Condorcet, à d'Alembert, à Guibert, au comte de Crillon. Publiées avec des lettres de ses amis, des documents nouveaux et une étude par M. Charles Henry. Paris, Dentu, 1887!
Note 4:http://c18.net/cl/cl_pages.php?nom=cl_projet
Note 5: see http://infomotions.com/etexts/gutenb...00/21frd10.htm
L'Espinasse's "Guibert" is another alias of Saint Germain. Last edited by yanni; 08-30-2008 at 12:11 PM. Reason: add note 5 07-31-2008, 12:52 AM #13 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 "Avaunt! avaunt! from fiends below, the indignant ghost is riven…" The glory of a nation and an age is always the work of a few great persons, and it dissappears with them .....
.....wrote Cocchi-“Grimm”, allegedly from Gotha-Weishaupt’s last refuge-to then conclude...
....My writing will kill me!
Following his wishes to the letter, French historians, including- even headed by-his French cousins, decided to assist him vanish, killing and burying him along with their national pride and self respect,after loosing what he had accomplished for France.
Two centuries from his death, it’s not just the hired scholars we saw “researching” him indefinitely, it’s the others too, those particular “willing individuals” driven by the very same “dark forces”, his enemies, that continue the big lie, calling him names, a “charlatan comte de Saint Germain” who “sided with Weishaupt’s Illuminati and Cagliostro”!
Thanks to the web, this will end and he will be reinstated...
…from grief and groan, to a golden throne, beside the King of Heaven!
Afterall he did side with Rome as well in 1775! Last edited by yanni; 07-31-2008 at 12:55 AM. Reason: presentation 08-02-2008, 02:30 PM #14 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 …to a golden throne, beside the King of Heaven… …possibly, but perhaps not: Who knows what’s on the other side?
He never pretended he did know, he remained to the end a sceptic …and an enlightened monarchist as well!
His last years were spent in great wealth, among art treasures he had ammased throughout his life, in his Palace in Saint Petersburg and died in full years, 1811.
Count Alexander Sergeievitch Stroganoff, Cocchi-Saint Germain’s last alias!
(To be sufficiently documented in next) Last edited by yanni; 08-02-2008 at 10:14 PM. 08-03-2008, 02:01 AM #15 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 Strogonov The road to reach and witness Saint Germain’s 1811 ascencion as “Strogonov”, begins 1778 with Voltaire’s initiation -Ben Franklin was also initiated that day-to the Lodge of the Nine Sisters (Neuf soeurs, the nine parts of the "world" as administered by The Strict Observance)-in Paris.
A controversial initiation, less than two months before his death, and by a Russian count no less!
As “Grimm” recalls:
….a franc-maçonnerie. Il a été reçu en particulier par M. le comte de Strogonoff; il l’a été dans la loge des Neuf-Soeurs….http://www.voltaire-integral.com/Grimm/Avr1778.html
Surely a strange “last will and testament” by Ferney’s patriarch requiring further examination:
It turns out this Russian count…
…having received his count title by the Holy Roman Emperor himself
http://www.imperialcollegeofprincesa...wsn/page3.html
….…a distinguished member of the “Strict Observance” known as “ab Amiantho” as well (wwww.oisot.com/Obituaire_SOT.php )
…his immense fortune,originating from fur and fair trading practices ,enabled him to built his Palace at 17, Nevsky Prospekt, Saint Petersburg
(http://www.nevsky-prospekt.com/palaces/thepalaces.html) ….
…a “European art collector” kind of man who…
..avait fait comme eux plusieurs séjours en France et avait formé une collection rare de tableaux, médailles et gravures et réuni une riche bibliothèque ; il logeait dans son palais et pensionnait les artistes et les gens de lettres pauvres. …..
For his efforts to civilize Russia, Catherine appointed him….
….président de l’Académie des beaux-arts de Saint-Pétersbourg.
http://www.buffon.cnrs.fr/correspond...20BUFFON&dest=
Curiously enough however…..
1)According to "Saint-Pétersbourg ou l'enlèvement d'Europe" by
Natalia Smirnova, Historienne et écrivain
(http://www.clio.fr/BIBLIOTHEQUE/sain...t_d_europe.asp )
President of the Academy was NOT Strogonoff ...
....but ...
“Grimm’s” friend …le comte Chouvalov, président de l'Académie, avait commandé les plans d'un bâtiment que l'on voulait alors installer à Moscou…
(Whereas a strange Russian architect actually designed the Saint Petersburg Academy:L'architecte russe Alexandre Kokorinov *(see Note below)élabora les plans de l'actuelle Académie de Saint-Pétersbourg à partir de ce projet, avec l'aide de Jean-Baptiste Vallin de la Mothe….)
2)Inna Gorbatov-in her book on Catherine (mentioned in previous post)-carefully avoids to mention “Stroganoff” or "Strogonov" etc-going as far in fact as to avoid mentioning the word “arts" alltogether
Finally:
In a relative study titled “Du Moujik à l'artiste." (L'académie impériale des beaux-arts de Saint-Pétersbourg (1757-1802)), Thèse soutenue en 2000 at Sorbonne, Paris, France:
Count Strogonov, the strange parisien Russian, is also carefully and totally avoided- unlike “Grimm” receiving discreetly the relative laurels-the “misunderstanding” attributed to “les archives”…
Les archives de l'Académie des beaux-arts de Saint-Pétersbourg antérieures à 1917 sont conservées dans le fonds 789 des Archives historiques de l'Etat russe à Saint-Pétersbourg ; une partie de ce fonds a été publiée entre 1864 et 1866 par Piotr N. Petrov à l'occasion du centenaire de la réforme de Catherine II. Les Archives centrales des actes anciens de Russie, situées à Moscou, comprennent la correspondance privée des souverains russes, notamment celle de Catherine II avec Melchior Grimm.
..whereas the duties of “Stroganov”- to invite young european artists to Saint Petersburg- are delicately transferred to “Grimm”:
A la fin d'un cycle complet d'études, les meilleurs étudiants, en termes de résultats, mais aussi de comportement, étaient envoyés à Paris pour se former auprès de ceux que les autorités académiques considéraient comme les meilleurs artistes de l'Europe, et à Rome pour y découvrir “ les grands modèles éternels ” selon les termes du baron Melchior Grimm dans une lettre à Catherine II. Les rapports trimestriels qu'ils avaient l'obligation d'envoyer représentent la source la plus complète et la plus précise dont pouvait disposer la Russie sur l'actualité artistique occidentale. Les problèmes de discipline ne peuvent occulter l'utilité d'un tel séjour, puisque la quasi-totalité des professeurs académiques étaient anciens pensionnaires.
http://theses.enc.sorbonne.fr/document4.html
Catherine never corresponded with her "count Srogonov" while he was in Paris nor does his name appear in any of her letters to "Grimm".
QED
Bonjour Sorbonne!
Note: He was not a "young c o c k" (κοκÏŒρι in grk) anymore at the time but, as a devoted life long vegetarian, he was "functional" to his very end! (possibly the subject of next post) http://www.online-literature.com/forums/showthread.php?p=588533
What's New with My Subject? Comte de Saint Germain
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An associate of Handel and also the composer Jean-Philippe Rameau, Saint Germain was praised for his ability to compose and perform exquisite musical pieces. At Versailles he gave concerts on the violin (it was said that he played the violin “like an orchestra”) and on one occasion he conducted a symphony without use of a score.
Saint Germain’s compositions were quite popular in London as well. The newspaper of London said of Saint Germain, “With regard to music, he not only played but composed; and both in high taste. Nay, his very ideas were accommodated to the art; and in those occurrences which had no relation to music, he found means to express himself in figurative terms deduced from this science.”
Charles Burney, the composer of “God Save the King,” writes in his History of Music about a time when one of the several songs Saint Germain had composed was used every night of the Opera season as the encore performance of the “first woman” of the opera—Farsi, Handel’s prema donna and the one who sang all of his oratorios for him including his Messiah. So popular was Saint Germain’s song—“Per pieta bel idol mio” (For pity’s sake, beautiful idol of mine) that the manager of the opera house had the first few lines of the song, including both staves and words, painted as a huge mural on the wall of his home in London.
Another beloved piece by the adept was “That Maid That’s Made for Love and Me.” Another called simply “A New Song,” was also known by its first line, “O wouldst thou know what sacred charms.” This song was sung by a famous tenor of the time who performed only the best musical compositions. The piece was printed in New Grove’s Dictionary of Music and Musicians as well as The London Magazine in 1747 and The Gentleman’s Magazine in that same year. The music is in 3/4-waltz time, which is the rhythm Saint Germain has always promoted as being healing for the heart, as it is its natural rhythm.
Some of Saint Germain’s compositions were meant for the amateur singer to perform in local salons. Others were formal works intended for the large orchestras of the day. He also provided new arrangements for several popular songs.
Most of Saint Germain’s musical compositions were published by Walsh, a well-known music publisher in London, who was given exclusive rights to publish a set of Italian Arias by Saint Germain through a note signed by the Secretary of State on November 27, 1749. This publication consisted of 42 arias and was 135 pages long! Saint Germain also wrote art songs in English, which Walsh published around 1747.
Many of Saint Germain’s most well liked songs were reprinted in popular magazines of the day. At one time Peter Tchaikovsky held one of Saint Germain’s compositions in his private collection. Today most of these collections are in the British Museum or in private collections. In our “Products that Transform” section we sell a few of Saint Germain’s compositions as sheet music and also offer a cassette tape of a piano version of his some of his music.
After doing extensive research to round up all the above information on Saint Germain’s musical career in eighteenth-century London, Theosophist Jean Overton-Street concluded: “Clearly Saint Germain was a composer of considerable competence and merit.”
Book Summary: The Music Of The Comte De St. Germain: The Favorite Songs From The Opera Called L'Incostanza Delusa, To Which Is Added Six Sonatas For Two Violins With A photographic facsimile of St. Germain's sheet music is attractively bound in a leatherette edition limited to one thousand numbered copies. The title page reads "The Favorite songs from the Opera Called L'Incostanza Delusa to which is added Six Sonatas for Two Violins with a Bass for the Harpsichord or Violoncello. 1750 Epoch of le Comte de Saint-Germain (lived circa 1691-1788)
Type of Work: Musical work Registration Number / Date: TX0000823655 / 1981-12-23
Date of Publication: December 1, 1981
Date of Creation: 1981
Title: The Music of the Comte de Saint Germain : The Favorite songs from the opera called L'Incostanza delusa, to which is added Six sonatas for two violins with a bass for the harpsichord or violoncello / introductory pref. by Manly P. Hall.
Basis of Claim: New Matter: "introductory pref. by Manly P. Hall."
Description: 2 v. in 1.
Other Title: Sonatas for two violins with a bass for the harpsichord or violoncello
L'Incostanza delusa
Six sonatas for two violins with a bass for the harpsichord or violoncello
The Favorite songs from the opera called L'Incostanza delusa
Copyright Claimant: Philosophical Research Society
Names: Manly P. Hall 1901-
Comte de Saint Germain (1 documents)
example document: The Time machine
Philosophical Research Society, Inc. (218 documents)
example document: PRS journal. Vol. 28, no. 3, winter 1968. By Manly P. Hall
Comte de Saint Germain.THE MUSIC OF THE COMTE DE ST. GERMAIN
THE FAVORITE SONGS FROM THE OPERA CALLED L'INCOSTANZA DELUSA,
TO WHICH IS ADDED SIX SONATAS FOR TWO VIOLINS WIT
COMTE DE ST GERMAIN / SAINT-GERMAIN / MANLY P HALL (Adapted by)
PHILOSOPHICAL RESEARCH SOCIETY (JAN 1999)
TRADE PAPER, 40 pages, 280 x 215 mm.
Prod. # 9780893144166 (American edition)
Category: Music
A photographic facsimile of St. Germain's sheet music is attractively bound in a leatherette edition limited to one thousand numbered copies. The title page reads "The Favorite songs from the Opera Called L'Incostanza Delusa to which is added Six Sonatas for Two Violins with a Bass for the Harpsichord or Violoncello.
Read more: http://www.faqs.org/copyright/transcript-of-manly-p-halls-television-talk-edited-on-n-b-c/#ixzz0mXL3wZyM
Preface
This CD contains first recordings of instrumental works and arias written by the Count of Saint Germain. The arias heard here were taken from the opera "L’Inconstanza Delusa." This opera was written in the so-called pasticcio technique, being made up of the work of several composers, and the count provided these arias. The first performance was so well-received, that John Walsh published a special edition bearing the title "The Favourite Songs in the Opera Call’d L’Inconstanza Delusa" which contains only the arias of the composers Brivio and the Count of St. Germain.
We are pleased to have won the soprano Antje Bitterlich for our group, who brings this long-forgotten music to new life with her shining voice.
The closing song, "Jove, when he saw my Fanny’s face" has been preserved only as a melody. We thank Arthur Weinbrenner for arranging it for our ensemble in the count’s musical style. At the same time, we regret that Arthur Weinbrenner was unable to perform the harpsichord part for this performance. In his place, we welcome Michael Fuerst as the new harpsichordist of the Ensemble Phoenix.
This CD was originally planned as a live recording of the concert on 31 August 2003 in the St. Nicolai Church in Eckernförde. Although the idea of making first recordings of the count’s works in the historical context of this church initially seemed worthy of the task, we have chosen not to pursue this method due to the uncontrollable background noise level.
Given the choice between a studio recording situation and a "live" recording that retains a concert atmosphere, we have given preference to the latter, not least because of the positive response to the first CD with its lively concert character.
As the reverberation in the St. Nicolai Church is too great without a seated public, we chose to make this recording in the St. Laurentius Church in Kosel, an 800-year-old, Romanesque stone church in the beautiful countryside between Eckernförde and Louisenlund. At this point we wish to extend our thanks to Pastor Jens Lehmann for generously allowing us to use the church for these purposes.
The recording technique (a one point recording using a Jaecklin disc) is the same as that used on the first CD. We hope to have made these decisions according to the wishes of our listeners, who can now imagine having been present at the concert given on 31 August 2003, whose program was identical to the one on this record.
Finally, we wish to thank fognin, Eckernförde for the recording, editing and photography, as well as Katharina Mahrt / Atelier GraFisch, Eckernförde, for the making of this booklet, and also Michael Fuerst, Hamburg, for the English translation of the texts and Kenneth Caskie, Louisenlund, for the translations of the aria texts from the original Italian.
This CD is the second in a series with compositions by the Count of Saint Germain (1696-1784). The first, which appeared in September 2002, contains a live recording of the first concert of his works, performed by Ensemble Phoenix on 28 April 2002 in the St. Nicolai Church of Eckernförde and is available under the same label with the number Ehn 84 053.
The Count of St. Germain (1696 ? - 1784)
The story of the Count of St. Germain is full of mystery. He was an alchemist, diplomat and traveller who appeared to have had a very eventful life. His birthplace cannot be ascertained with any certainty, but in some books, he is said to have been born on 28 May 1696 as the first son, Leopold Georg, of Prince Franz II. Rakoczy of Transylvania and his wife Charlotte Amalie in Klausenburg (Cluj). For reasons of security, his father is said to have had the child officially proclaimed dead and sent to a friend of the family in Italy.
His contemporaries described him as a person with exceptional abilities who turned up at various European courts with secret diplomatic missions. This implied for him the use of more than thirty pseudonyms which made his unusual personality undefinable not only to his adversaries of the time. According to his own statements even the name of Count of St. Germain was assumed by him in an action of self-defence with the effect that our knowledge about his origins can only be extremely vague.
His commitment to the peace in Europe, all his science of alchimy, acquired and enlarged on numerous trips around the world, his research of synthetic stones, the development of remedies against poison and the invention of new methods for dyeing fabrics made him many admirers as well as enemies.
Last but not least he also excelled as a brilliant violinist at many society parties and he even turned out to have been a respectable composer. Above all, during his visits to London in the late 1750s he composed and published various sonatas for one and two violins with basso continuo which were also performed at the time. In addition to this, he composed various arias for the opera "L'inconstanza delusa" as well as a variety of compositions called "Favourite Italian Songs".
The Count of St. Germain spent his last years at Louisenlund, the residence of Landgrave Carl of Hesse-Cassel whose financial support resulted in the development of an alloy called "Carlsmetall" as well as in advanced dyeing and tanning methods. St. Germain became the director of the Otte manufactory in Eckernförde.
On February 27, 1784 he died in Eckernförde and was buried in the church of St. Nikolai as certified in the parochial register. There were, however, always rumours that he was seen alive even after that date.
The Instrumental Works
These compositions by the Count of Saint Germain were published from 1745 to 1760 in London. As already explained, the count was not a composer by trade, but the quality of his works and the claims by his contemporaries that in addition to his primary instrument, the violin, he could play several others, imply that he must have enjoyed a profound musical education. It remains a mystery as to when, where, and by whom he was instructed in music; an intensive autodidactic period of study cannot be dismissed.
Stylistically speaking, this music conforms to the tastes to the time, so that aspects of Baroque polyphony can be heard – nearly every movement of the trio sonatas is conceived as a fugato – while being contained by the levity of the Pre-Classic period, also known as Rococo. This is a kind of music typical for court life, designed to tickle the ear at social events.
The Count of Saint Germain left, as did the Bach sons, a unique signature on his music. He had many ideas that left the compositional craft of his time behind – in the development of the fast second movement of the Sonata II for violin, he suddenly brings in the second theme of the slow first movement over the ever-quick running bass. Such aspects of his music surprise and delight the alert listener, as may the lack of development of some themes or the improvisational character of various sections.
In his life, he was perfectly aware of the many rules of conduct that he could observe perfectly when he chose to, and in the same way, the Count of Saint Germain was not satisfied to simply follow the rules of compositional technique. At times, he seems to submit to his desire to pursue a spontaneous idea rather than fulfill formal laws as may be expected.
And his compositions continue to effect the listeners of today.
When we listen to this music, we hear its brilliance and its relaxed "simplicity," as well as the humor and depth in its expression.
The melodic and rhythmic nature of this music makes it seem as if someone was speaking, as if a comprehensible text were at the root of the sound.
The Arias
Taken as a part of the complete works of the Count of Saint Germain, his 46 arias make up the greatest part of his output. This may come as a surprise, considering that the count himself was a virtuoso violinist. His preference for the musical setting of texts may well have influenced his instrumental composition.
Upon closer examination of the texts, the arias seem to be interchangeable in their ordering. This has to do with the so-called "pasticcio" technique, where individual arias by various composers were pulled together to create a short opera which could be performed at social gatherings. In order to fulfill this purpose, each aria must be so constructed that the beginning cannot be exclusively dependant on a previous aria, nor the end on a following one, and at the same time such relationships must be vaguely inherent in every aria, so that they can be strung together. The opera "L’Inconstanza Delusa," whose arias by the count are included on this record but which contained arias by other composers as well, is just such an example. Unfortunately, the complete opera has not been preserved – only the favorite arias can be found in an edition titled "The Favorite Songs in the Opera Call’d L’Inconstanza Delusa."
Further facets of his musical world can be found in these arias: whereas the instrumental works are characterized by intimate expression in the slow movements and by virtuosic liveliness in the quick movements, he forms his arias with a large gesture. The opening themes, with all their clarity, are developed toward the more reflective middle section that makes the returning Da Capo appear in a new light. Always with the same formal structure, every aria is a unique work with unmistakable character.
The song "Jove, when he saw my Fanny’s face" is completely in the style of the English songs of its time, as are a whole series of songs with English texts from the count’s pen. As in the Italian arias, the Count of Saint Germain shows his uncanny ability to feel his way into various genres, not by copying but by creating something new within stylistic bounds.
Matthias Hahn-Engel
Translation Michael Fuerst
The music of the Count of Saint Germain, their rediscovery and the creation of the Ensemble Phoenix
Wer sich heutzutage über den Grafen von Saint Germain informieren will, findet zu Geschichte und Persönlichkeit mehrere Bücher sowie eine reiche Anzahl von Websites im Internet.
Those who now want to inform the Count of Saint Germain finds several books on history and personality as well as a large number of sites on the Internet.
Mir fiel 1994 als erstes das Buch „Unter den Flügeln des Phönix" von Irene Tetzlaff in die Hände. Im Verlauf der liebevoll recherchierten Geschichte dieses abenteuerlichen Lebens fiel mir als Musiker besonders die Tatsache ins Auge, daß der Graf die Violine virtuos beherrscht haben und auch eigene Werke komponiert haben soll, die in dem Buch sogar mit Titeln genannt sind. Was lag also näher, zu versuchen, diese ausfindig zu machen. Nach einiger Zeit der Suche wurde ich 1995 fündig in einem Londoner Archiv. Aufgrund der nicht unerheblichen Kosten für die Mikrofilme wartete ich mit dem Erwerb, da ich zunächst Veranstalter finden wollte, die an einer Wiederaufführung der Werke 1996, zum 300. Geburtstag des Grafen, Interesse zeigten, wovon ich, in Eckernförde lebend, ausging, da der Graf seine letzten Jahre nahe Eckernförde auf Louisenlund wirkte und 1784 in der Eckernförder Nicolaikirche beigesetzt wurde. Ich stieß zu meinem Erstaunen zunächst ausschließlich auf Ablehnung und Mißtrauen.Um so mehr freute es mich, daß die Stadt Eckernförde schießlich im Jahre 2002 zu ihrem 700jährigen Jubiläum zwei Konzerte mit Werken des Grafen in Auftrag gab, die an historischem Ort, in der Eckernförder Nicolaikirche, stattfanden und Zuhörer aus ganz Deutschland anzogen. Das erste Konzert des für diesen Anlaß eigens gegründeten Ensembles PHOENIX erschien auf einer CD, die mittlerweile international Freunde gefunden hat. Neben weiteren Konzerten, im Rudolf Steiner Haus Hamburg und im Goetheanum Dornach 2003, finden nun in der Eckernförder Nicolaikirche jährlich Konzerte mit Werken des Grafen statt, mit dem Ziel, sein gesamtes musikalisches Werk der Öffentlichkeit zu präsentieren.Wie beschrieben, war das Komponieren nicht der Hauptberuf des Grafen, doch läßt die Qualität seiner Kompositionen und das ihm von Zeitgenossen nachgesagte vollendete Beherrschen mehrerer Instrumente neben seinem Hauptinstrument, der Violine, darauf schließen, daß er eine profunde musikalische Ausbildung genossen haben muß. Wann, wo und bei wem, ist nicht bekannt; auch ein intensives autodidaktisches Studium ist denkbar. Stilistisch gesehen bewegt sich diese Musik im Geschmack ihrer Zeit, dh wir erleben Ansätze barocker Polyphonie (in den Triosonaten), befinden uns aber in der Leichtigkeit der Frühklassik, zuweilen auch als Rokoko bezeichnet. Wir haben es mit einer für die Zeit typischen, höfischen „Unterhaltungsmusik" zu tun, die gesellschaftlichen Anlässen den festlichen Rahmen gab - vordergründig.
Der Graf von Saint Germain hat im Vergleich mit seinen Zeitgenossen, wie z. B. den Bach-Söhnen, eine unverwechselbare Handschrift.
I remembered 1994 as the first book "Under the Wings of the Phoenix" by Irene Tetzlaff in his hands. During the lovingly-researched history of this adventurous life as a musician I was struck in the eye in particular the fact that the Count have dominated the violin virtuoso and allegedly composed his own works, which are even mentioned in the book with titles. What could be more to try to make this finding. After a while of searching I find it was in 1995 in a London archive. Because of the significant cost of Microfilms I waited with the purchase, as I initially wanted to find broadcasters who showed on a revival of the works in 1996, the 300th birthday of the Counts, interest, which I, living in Eckernförde went out, because the count his last years near Eckernförde on Louisenlund worked and was buried in 1784 in the Eckernförde Nicolai Church. I found to my surprise, initially only with rejection and Mißtrauen.Um more so I was pleased that the city of Eckernförde schießlich in 2002 in their 700-year anniversary of two concerts featuring works of Count Order was taking place on a historical site in the Eckernförde Nicolai Church, and attracted listeners from all over Germany.
The first concert for this occasion specially created ensembles PHOENIX appeared on a CD that has found international friends. In addition to other concerts, in Rudolf Steiner House Hamburg and in the Goetheanum Dornach 2003, will now find in the Eckernförde Nicolai church year concerts featuring works of Count instead, with the aim of his entire musical work to the public described to präsentieren.Wie was composing not the main occupation of the count, but leaves the quality of his compositions and his close contemporaries reputed perfect command of several instruments in addition to his main instrument, the violin, that he must have enjoyed a thorough musical education. When, where and with whom, is not known, but also an intense self-educational course is conceivable. Stylistically, this music moves in the tastes of their time, that we experience approaches Baroque polyphony (in the trio sonatas), are located but in the ease of the early classical period, sometimes known as Rococo. We are dealing with a typical time court to do "light music", the social events of the festive atmosphere was - vordergründig.
Der Count of Saint Germain, in comparison with his contemporaries, such as the Bach sons, a distinctive signature. Ideen, die das kompositorische Handwerk seiner Zeit nicht bereithält - so erscheint z. B. in der Durchführung des schnellen 2. Ideas that the compositional craft of his time not ready - for example, appears in the implementation of the fast second Satzes der Sonata II für Violine unvermittelt das Anfangsmotiv des 2. Sudden movement of the Sonata II for violin at the beginning of the second motif Themas aus dem langsamen 1. Theme from the slow first Satz über dem weitereilenden Basso continuo - , überraschen den aufmerksamen Hörer ebenso wie der häufige Verzicht auf die Weiterentwicklung begonnener Themen oder der Improvisationscharakter einiger Durchführungen.So, wie er sich in seinem abenteuerlichen Leben über viele Regeln, die er gleichzeitig vollendet beherrschte, hinwegsetzte, um Neues zu erreichen, mag dem Grafen von Saint Germain das bloße Bedienen der erlernten Kompositionstechnik nicht genügt, die Ausführung der spontanen Idee manches Mal über der Erfüllung der formalen Gesetze gestanden haben.
Sentence above the weitereilenden Basso continuo - the attentive listeners surprise, like the frequent abandonment of the development issues have begun or the nature of some Durchführungen.So improvisation, as he disregarded his adventurous life of many rules he dominated completed simultaneously, to to achieve new things, like the Count of Saint Germain mere use of the learned technique of composition is not enough to have confessed to the execution of the spontaneous idea many times over the fulfillment of the formal laws.
Und seine Kompositionen verfehlen - heute wie zu seiner Zeit - ihre Wirkung nicht.Diese Ausgabe soll ein Anfang sein, den vielfach geäußerten Wünschen der Freunde der Musik des Grafen nach einer Neu-Edition seiner Werke nachzukommen. And will miss his compositions - today as in his time - their impact nicht.
Diese issue be a start, the frequently expressed wishes of the Friends of Music of the count after a new edition of his latest works. Weitere Ausgaben werden folgen, geplant ist letztendlich die Neu-Edition des bis dato bekannten Gesamtwerkes, das sieben Violinsonaten, sechs Sonaten für zwei Violinen, Cembalo und Violoncello sowie 46 Arien und einige Lieder umfaßt.
Alle Werke wurden zu Lebzeiten des Grafen von Saint Germain in den Jahren 1745 bis 1760 in London veröffentlicht.
Past issues will follow, eventually it is planned to New Edition of well-known work to date total, the seven violin sonatas, six sonatas for two violins, harpsichord and cello and 46 arias and songs umfaßt.Alle some works have been alive the Count of Saint Germain the years 1745-1760 published in London.
Phoenix Vitae Trio Phoenix Trio Vitae
Nicola Kruse, geboren 1968 in Hamburg, studierte an der dortigen Musikhochschule Violine, anschließend Jazz. Born 1968 in Hamburg, studied violin at the Musikhochschule, then Jazz.
Seit der Gründung 1989 spielt und komponiert sie im Jazzstreichquartett String Thing, das zahlreiche Konzerte im In- und Ausland durchführte und diverse Preise erhielt. Since its founding in 1989, she plays and composes in jazz string quartet String Thing, which conducted numerous concerts at home and abroad and won many prizes. 6 CD-Produktionen liegen bereits vor. 6 CD-productions are already available.
Darüber hinaus spielte sie - teilweise bis heute - in verschiedenen Ensembles für Neue und Improvisierte Musik.
In addition, she played - in part to this day - in different ensembles for contemporary and improvised music. 2002 gründete sie das Chamber Orchestra of Groove, spielt seit 2005 auch wieder klassisches Streichquartett und leitet seit 2006 die Hamburger Young Urban Strings. In 2002 she founded the Chamber Orchestra of Groove, plays since 2005, once again directs and classical string quartet since 2006, the Hamburger Young Urban strings. Sie singt und spielt bei Voice, Strings & Fire. She sings and play in Voice, Strings & Fire.
1996 - 1999 wirkte sie als Theatermusikerin am Schauspielhaus Hamburg. 1996 - 1999 she worked as a theater musician at the Schauspielhaus Hamburg.
Sie wirkte außerdem bei CD- und Rundfunkproduktionen, ua mit Evan Parker, Anthony Braxton, Vinko Globokar, Butch Morris, Carla Bley, Fred Frith und Arkady Shilkloper mit. She has also appeared in CD and radio productions, including Evan Parker, Anthony Braxton Vinko Globokar, Butch Morris, Carla Bley, Fred Frith and Arkady Shilkloper.
Seit 2008 spielt sie mit dem Ensemble Phönix Werke des Grafen von Saint Germain. Since 2008 she is playing with the Phoenix Ensemble works of the Count of Saint Germain. Eine CD mit diesem Ensemble ist in Vorbereitung. A CD of this ensemble is in preparation.
Sie arbeitet seit 1982 als freiberufliche Geigenlehrerin, seit 2004 an der Staatlichen Jugendmusikschule Hamburg und im Streicherklassenunterricht
She works since 1982 as a freelance violin teacher since 2004 at the Hamburg State Youth and Strings class teaching
an allgemein bildenden Schulen. at general schools.
Seit 1995 gibt sie Workshops und Fortbildungen zum Thema „Groove und Improvisation auf Streichinstrumenten“ in Kooperation ua mit der ESTA, dem AMJ, Landesmusikakademien und Musikschulen und schreibt hierfür Popularmusik-Kompositionen Since 1995, she gives workshops and training courses on "groove and improvisation to string instruments" in cooperation with others of ESTA, the AMJ, country music academies and music schools and writes this popular music compositions und -Arrangements für Streicher. and arrangements for strings. 2009 veröffentlichte sie das Lehrwerk „Groovy Strings“ bei Breitkopf&Haertel. 2009 she published the textbook "Groovy Strings" by Breitkopf & Haertel.
Hans-Christian Jaenicke, Hans-Christian Jaenicke,
erhielt mit 6 Jahren den ersten Geigenunterricht, mit 9 Jahren zusätzlich Theorie und Gehörbildung. was 6 years old the first violin lessons at age 9 in addition theory and ear training.
Während seines Musikstudiums besuchte er zahlreiche Meisterkurse, studierte Barockvioline bei Veronika Skuplik und konzertierte ua als Solist und Konzertmeister mit verschiedenen Orchestern und Kammermusikensembles. During his music studies, he attended various master classes, baroque violin studies with Veronika Skuplik and gave concerts as a soloist and concertmaster with various orchestras and chamber ensembles.
Anschließend arbeitete er mit renommierten Musikern wie dem Dirigenten David Coleman (London), Rachel Evans vom Meridian-String-Quartet (New York) sowie dem Cellisten und Komponisten Graham Waterhouse vom Philharmonia Orchestra London zusammen. He then worked with renowned musicians like the conductor David Coleman (London), Rachel Evans from the Meridian String Quartet (New York) and the cellist and composer Graham Waterhouse by the Philharmonia Orchestra London together.
Viele Jahre wirkte er als Primarius des Amsterdamer Klavier-Quartetts. For many years he served as leader of the Amsterdam Piano Quartet.
Er ist Mitglied des Ensembles Phönix seit 2008. He is a member of the Ensemble Phoenix since 2008. Eine CD mit diesem Ensemble ist in Vorbereitung. A CD of this ensemble is in preparation.
Für die Landesbühne Niedersachsen-Nord war er als Studio- und Bühnenmusiker tätig und komponierte Bühnenmusik für das Theaterfestival Erlangen. For the Lower Saxony State Theatre-North, he worked as a studio and stage musician and composed music for the theater festival in Erlangen.
Rundfunkaufnahmen und CD-Produktionen für SONY/BMG haben ihn darüber hinaus als Tango-Geiger und Komponisten international bekannt gemacht. Radio recordings and CD recordings for Sony / BMG have also made him as a tango violinist and composer known internationally.
Matthias Hahn-Engel,
Matthias Hahn-Engel, geboren 1954 in Schleswig, spielt Violoncello seit seinem 10ten Lebensjahr. Born in 1954 in Schleswig, cello playing for his 10th birthday. Bereits als Schüler wirkte er in zwei Jugendorchestern und zwei Streichquartetten mit, von denen eines mehrfach Preisträger bei Jugend musiziert wurde. Even as a student, he participated in two youth orchestras and two string quartets, of which a multiple winner was played at youth.
Nach dem Studium der Schulmusik an der Universität Osnabrück folgt eine langjährige Unterrichtstätigkeit an den Kreismusikschulen Nordfriesland und Schleswig-Flensburg neben der Mitwirkung in zahlreichen Konzerten als Solist und in Ensembles in Deutschland, Skandinavien und der Schweiz. After studying music education at the University of Osnabrück follows many years of teaching at the music school district of North Friesland and Schleswig-Flensburg, in addition to participation in numerous concerts as a soloist and in ensembles in Germany, Scandinavia, and Switzerland.
Bis heute ist er freiberuflich als Cellolehrer im Raum Kiel tätig.1994 Gründung der Salonformation Herlich Engel Trio. Today he is a freelance cello teacher in space Kiel tätig.1994 establishing the Salon Formation Herlich Angel Trio. 2002 Gründung des Ensembles Phoenix, von dem bereits 2 CD-Produktionen vorliegen und eine dritte in Vorbereitung ist. 2002 foundation of the Ensemble Phoenix, there are already two of the CD production and a third is in preparation. 2004 folgt die Gründung des Trios TangoDiMar (internationale Tangos). 2004 is the foundation of the trio TangoDiMar (international tango).
Seit 1996 Aufbau seiner Konzertagentur, mit der er seit Dezember 2001 in Eckernförde ansässig ist und die er 2004 um den Verlag zur Produktion von CDs und Noten mit Werken des Grafen Saint Germain erweitert hat. Since 1996, building his music agency with which he is established in December 2001 in Eckernförde and it has expanded in 2004 by the publisher for production of CDs and sheet music with works by the Comte de Saint Germain.
Friedrich Melchior Grimm (revisited) The man carrying this name, who shaped modern european philosophy, art, society and geography, was infact born Gioachino Cocchi, musician. He is mostly known today-eversince 1745-as comte de Saint Germain but also used a few other interesting names (yet unknown, or at least never publicized by Saint Germain's authors and authorities until now).
Readers are advised to first read-through relative study at.....
http://www.online-literature.com/for...ad.php?t=15023
The discovery that "Melchior Grimm" never truly existed, that he was another face of le comte de Saint Germain, could perhaps be labelled "of major importance" or even "extremely radical" in what concerns modern history, philosophy and society as well as the corresponding "scholarly sources" or lack of.
Faced with the immense amount of online info on M.Grimm, yourstruly could not really make up his mind on his next course, how to handle the matter alltogether, and was more or less inclined towards simply proving his "grimm discovery" by presenting herein his evidence in a convincing "scholarly" manner, hence he granted himself the appropriate time, till late August, to prepare, also allowing for a few days by the sea.
Things did not turn out as he planned however: Soon after starting his "Melchior Grimm tour" another stranger appeared on his screen, le chevalier de Chastellux, insisting that his " Voyage dans l'Amérique septentrionale, dans les années 1780, 1781 et 1782" provided the answer to the alleged visits of mythical "comte Saint Germain" to the USA. .
Washington's, Jefferson's and Franklin's correspondent, le chevalier or marquis de Chastellux was yet another important alias of Saint Germain. The relative pile of webinfo, added to the corresponding "Grimm" pile, made life extremely unpleasant for yourstruly with his long formed and expressed opinion and "esteem" for the particular quality of scolarly truth and it's veil, carefully covering Saint Germain and everyone related to him:.
'Your "two hudred years of Poe scholarship" reminded me of Mr Bean clumsily trying to repair the portrait he accidentally damaged, finally destroying it! ' was his wicked response, 2 June 2008, to Wiki's "Poe expert" rejecting his Al Aarraf contribution, this same conclusion now further strengthened by his last discoveries.
When Gioachino Cocchi (as Saint Germain, Grimm AND Chastellux) is placed alongside his cousin Charles Nicholas Cochin(fils), 1750-1788, the need to rewrite History is certainly evident but not yourstruly's beer.
Counting resources he decided to limit himself to the bare essentials. "Everybody but me is a liar" was an egoistic statement, he knew well, but in his particular case there was no other option: He had to prove his truth, to do it, he had to prove the others "false"-when applicable-not least among them Saint Germain himself.
To follow:
Presentation of sufficient evidence to prove that Melchior Grimm and Le chevalier de Chastellux were in fact aliases of Gioachino Cocchi/Augustin Henry Cochin aka le comte de Saint Germain Part I
The remarkably common lack of any family or other personal life details on the online biographies/tales on Saint Germain, Cocchi, Grimm and Chastellux cannot on its own be considered either proof of their common identity, or evidence of an artfully planned conspiracy to hide the fact .
The same applies for the thousand or so unanswered questions with regard to "their" common talents (opera buffa, theater, botanology, chemistry) philosophical viewpoints, friends etc etc. ("How did "german Grimm" learn french so quickly? Why did he support italian opera buffa? How did he manage to conquer french literature? etc etc)
When a detailed timeline however is prepared, including enough details concerning their presences or absences to various parts of the world- excepting "largely unknowns" Cocchi and Cochin*(footnote), the others are all labelled today as great travellers- the lack of any overlap, the harmonious coincidence of their arrivals, stays and departures is such evidence and much more than that.
It's the confirmation of Saint Germain's myth, it is the basis for a true study of his unique character.
With "Grimm"-last alias to survive- tactically withdrawing and covering up-in his "Correpondence Litteraires, anecdotiques..."-his other main aliases (Chastellux, Saint Germain and "Claude Louis, comte de Saint Germain") and with his Cochin-Caussin descendants returning to Paris ready to continue their under cover "Mercer dynasty" in -their friend**- Napoleon's regime, one can easily understand the reluctance of many of their later friends and associates, like Chateaubriand (on Grimm (http://tkline.pgcc.net/PITBR/Chateau...hatindexG.htm), "Mme de Crecqy"-Cousin de Chourchamp- (On a naughty comte de Saint Germain making a fool of le chevalier de Chastellux http://penelope.uchicago.edu/crequy/index.shtml) and naturally earlier friends and authors like Voltaire and Rousseau, fully under Cochin "influence".
It was "Grimm" in fact who first established "Saint-Germain, Claude Louis, comte de" (Mémoires de M. le comte de St. Germain ... éscrits par lui-même. Amsterdam, M. M. Rey, 1779. MiU (Amsterdam, 1779...London, 1781). (http://www.history.uiuc.edu/people/j...de/part2/18th/)
Because it was he who later published in his "Correspondence", first ever, the letters of "his" comte de Saint Germain, war minister of France, establishing his presence in Copenhagen in an article by an unknown author who went as far as to claim that le comte de Saint Germain was in fact Rousseau***(NOTE), the attrocious claim immediately rejected then with horror by the know-all editor "Grimm-Saint Germain" (Correspondance littéraire, philosophique et critique ... p.548)
It was "Grimm" who kept a close eye with regard to his Chastellux alias as well, almost revealing his aliases nomdeplume sole existence.....
"Nom qui portait encore l'auteur, il y a deux ans." (about le marquis de Chastellux in 1785)
p. 517 "Correspondance littéraire, philosophique et critique ..."
books.google.gr/books?id=Qz00AAAAMAAJ...
...and it was he who labelled George Washington "Chastellux's God" writing to his friend Diderot
«C'est le Dieu de Chastellux», écrivait Grimm à Diderot._Correspondance_, X, 471
http://www.ihaystack.com/authors/b/t...erique_pendant
Footnotes
*the copy/copyright protected site..... http://g.alhinc.free.fr/Epinay..... lists about 14 presences and 4-highly enlightening- absences (marriages or deaths of his children in his absence) of Augustin Henry Cochin from his "seigneury", all highly revealing.
** See a)marriage of : May 1778 Augustin Henry Cochin's daughter, Marie Henriette, 19years old, to Claude Joseph Gabrielle de Vaulx, father and mother of the bride present.(Viscount de Vaulx, +1809, Marshal of France)
see b) Napoleon/s acceptence in the school of war in 1784, while "Comte Saint Germain", who renovated and opened the school shortly before, was in control of France (to be verified lateron) .
HOWEVER:
Saint Germain's post 1784 actions (as Al.Serg. Stroganov -as discovered further down this thread) , the assasination of Paul I and Stroganov descendants military participation against N (russian campaign), indicate that their friendship did not last. Did Napoleon attack "Stroganov's" Russia? That's a good question for the historian of the future to answer!
*** The "parallel lifes" of all Saint Germain's aliases to Rousseau's have been studied in the meantime in detail (along with the "other similarities" -mainly between the works of "La Dixmerie" and Rousseau and the common talents of Cocchi/Gluck/Chastellux and Rousseau): Yourstruly hesitates to phrase his attrocious conclusion at this stage!
Part II
If Saint Germain had his private reasons to create, maintain and immortalize his multifaced myth, so did also his contemporary and later, till the present, historians, their efforts to conceal and diminish him (keeping his personnae apart) so obvious in every book and every relative article. There is no need to further drive the point home, but one would expect, by some authoritative sources at least, to be less obvious in their endeavours. Such as, for instance l’Académie française:
M. le chevalier de Chastellux, ayant été élu par l’Académie française à la place laissée vacante par la mort de M. de Chateaubrun, y est venu prendre séance le jeudi 27 avril 1775*, et a prononcé le discours**....:
Buffon his (Cocchi's/Grimm's) friend, directeur de l’Académie at the time sitting in "fauteuil" #1 and Chastellux was given the seat next to him, #2.
Such info can be found on related articles on him, but the fact he became president of the Academy later on (around 1783) is carefully avoided today, not just by wiki-pedias but by the Academy itself, and one has to rely on the word of abbe Morellet:
Le chevalier de Chastellux , directeur de l'académie à l'époque (1785) de ma réception.
(Mémoires de l'abbé Morellet ... sur le dix-huitième siècle et sur ... - Google Books- André Morellet - 1821)
Keeping the "quality of truth" in mind, let us now return to continue our "presentation":
Many such interesting details are revealed by our lengthy timeline, previously mentioned, but it's simply much too detailed to be presented herein, therefore the "cherchez les femmes" method will be next apllied to reach our q.e.d .
Among their other common characteristics, our heroes also shared their admiration for the fair sex not just in their common love affairs but also in their common affection to the offsprings thereof.
"Grimm" for instance was "vehemently" in love with Marie Fell, the "primadonna of the italian opera company", the same who purchased her Chaillot house later on from "Augustin Henri Cochin"-Cocchi after his divorce from his wife (around 1778).
"Grimm's" remarkable admiration for Catherine II of Russia, so evident in their- still partly unknown- correspondence, yet only explainable through Saint Germain's alleged involvement in her 1762 enthronement, the 1764 transfer of a large part of the Medici art collection (The Uffizi was under Raimondo Cocchi 1758-1775) in L'Ermittage, Charles Nicholas Cochin's own relative personal involvement, reward and decoration by Catherine II (Ed.Goncour).
Lastly, their simultaneous (Grimm, Dupin and Cocchi as per The Poe Announcement) affection to Mme d'Epinay, their common presences and theater presentations at "la Chevrette" (Chastellux-and Rousseau-included).
Their common children and grand children,such as- but not limited to- Angelique and Emilie
Regarding "François-Jean de Beauvoir*** de Chastellux's" later life marriage to Marie-Josephine-Charlotte-Brigitte de Plunkett and their son Alfred: A separate chapter will follow later on herein, once relative research is sufficiently completed. http://gwpapers.virginia.edu/index/p...ial/clist.html
Footnotes
*In this very same year:
In 1775 (27th) October, on the death of the Marechal du Muy, the ascendency obtained by the sect of innovators occasioned M. de Saint-Germain to be recalled to Court and made Minister of War.27 October 1775 US revolutionary congress authorises banknotes. "Grimm" was made a baron of the Holy Roman Empire in 1775 and "became minister of Saxe-Gotha at the court of France in 1776", while cousin Charles Nicholas Cochin (fils): En 1775, les Observations sur les ouvrages exposés au Louvre commencent ainsi : «Quelque rassasié que M. Cochin puisse être des éloges reçus en tant d'expositions (1)…» Et Diderot lui-même, emporté par l'éblouissement public, finit par le reconnaître pour le «premier dessinateur français».
** In Chastellux's touching speech one finds the word "grec" mentioned 15 times, "Muse" 9 times, "lati(n)" 7 times and "Franc(e)" 5 times.
***"Beauvoir" is the same as "Bellegarde"
Part III Interesting as they may be, we'll leave aside for the moment the details of our hero's life long relation to Mme d'Epinay or their daughter Angelique...
(Angélique Louise Charlotte dite Pauline LALIVE d'EPINAY, o La Chevrette 01.08.1749 + Gémozac 01.06.1824)
....to concentrate on their grandaughter, the famous Emilie, daughter of Angelique and Dominique de Belsunce, her husband*(Note 1).
Because Emilie, who allegedly hosted our hero (as "Grimm") in his later years in Gotha.....
...in 1777 he left Paris on a visit to St Petersburg, where he remained for nearly a year in daily intercourse with Catherine. He acted as Paris agent for the empress in the purchase of works of art, and executed many confidential commissions for her. In 1792 he emigrated, and in the next year settled in Gotha, where his poverty was relieved by Catherine, who in 1796 appointed him minister of Russia at Hamburg. On the death of the empress Catherine he took refuge with Mme d'Epinay's granddaughter, Emilie de Belsunce, comtesse de Bueil. http://tkline.pgcc.net/PITBR/Chateau...ChatindexG.htm
......HAS the evidence we have been looking for to doublecheck our theorem that Gioachino Cocchi IS Augustin Henry Cochin (seigneur d'Epinay, du Breuil etc) IS le comte de Saint Germain, IS Grimm, IS Chastellux, IS*(Note 2) Claude Louis Dupin de Franceuil.....
....but for this slight misspelling: "Bueil" instead of "Breuil"!
There was noone else in her circle she could have inherited the "du Bueil" title from but her loving grandfather, A.H.Cochin "...seigneur du Breuil".
Is there, in this newly reordered world of ours, a man so impudent as to go against the authority of Encyclopedia Britanica and the rest of "them"?
Yes, there is:
In his "The Story of a Throne (Catherine II. of Russia), 1971" Kazimierz Waliszewski writes on Grimm:
"Rather late in life he had come to have quite a family: Emilie de Belsunce, granddaughter of Madame d'Epinay, married to the Comte de Breuil...." *(Note 3)
One must assume that the author had sufficient access to Catherine II' s letters to "Grimm" (the letters were returned to Russia in 1813) to spell Emilie's title correctly-and go against the "western lore"- but was also provided, by Emilie, the wrong information re the source of such title.
In other words, Emilie inherited the "Du Breuil" title from her grandfather (who allegedly sold the Epinay sur Orge property before he "died" in 1784:En 1785 il y avait Gilbert Georges de Montcloux, fermier général du roi....il vendit le moulin du Breuil au Bailli de Crussol, déjà propriétaire de la Gilquinière qui, acheté par la ville de Paris, sera le futur site de l’hôpital de Vaucluse) and she propably was in litigation with but "avoiding" Paris at the time of "Grimm's" death and later on (Until an overall settlement was reached, including "Grimm's" Livadia property, today Yalta, Ukraine-see next posts).
Q.E.D
(In view of other current commitments- and installation of new hardware-this thread will not be continued for a while)
Note 1:see The Project Gutenberg e-Book of Mémoires d’Outre-Tombe, Tome II, Note 19:
Le comte de Belsunce, major en second du régiment de Bourbon Infanterie. ..... près de son parc de la Chevrette, dans la forêt de Montmorency, ... conclusion: Angelique inherited La Chvretee from her mother Mme d'Epinay IF NOT from her real father!
Note 2: In her Memoirs Mme d'Epinay gives an interesting account of her simultaneous-for a while- dating of both Dupin and Grimm, the latter gaining her confidence soon after. The different fates of her son (by Dupin?) and daughter(Angelique, by Grimm) indicate that the two men were different personalities, ie "Grimm IS Dupin" only(?) because Dupin has been assumed "vraisembleument" to be the father of Angelique.
Note3: When they were married however HE was not a "Du Beuil" BUT SHE was "du Breuil"
See T319 Papiers du Bueil et Grimm at
http://www.archivesnationales.cultur...e/T301_345.pdf
In 19th March 1786 Renee Therese Emilie de Belsunce was married to Alexandre Louis Auguste du Roux de Chevrier in France.
The title Du Bueil was granted to him by Charles X, in 1827. The couple, sometime after 1792?, moved to Russia and then to Brunswick 1798-1800 Even if yourstruly purchased the capacity to remain indefinitely online, boot large amounts of text, open pdf files etc- essential requirements to study his main hero and his entourage better-he is still undecided as to the most appropriate way forward of this here “new thread” or article concerning le comte de Saint Germain and his aliases and true role in “world history”.
A matter of taste mostly rather than anything else, the character complexity of subject and the amount of work involved amply compensated already by the perpetuous mirth and amusement created by this unique situation yourstruly is finding himself lately, having communicated not just with America’s hardest to understand poet but with la crème de la crème of France’s finest gens de lettres, he, a greek barely able to read and understand French.
Questions like “Why me?” or “If I can see IT, why others didn’t in the past?” should really be answered by others and furthermore there is this flaw of character thing, shuting off his research motor soon as curiosity is sufficiently satisfied while the “prose writing motor” refuses to start.
Curiously, his hero, as “Grimm”, has been accused for the same, more or less, character flaw:
In his “PRÉFACE” of Rousseau’s “confessions”, monsieur Jules CLARETIE de l'Académie française, vehemently attacks “Grimm” (C'est un assez médiocre personnage que ce Grimm….Grimm, cancanier vulgaire, critique de théâtre d'une infériorité absolue, sorte de reporter érudit, comme on dirait aujourd'hui…) while declaring himself unable to comprehend why and how “Grimm” “protégeait Diderot, le prenait en amitié!”
Monsieur Jules fails to mention that it was not just Diderot but also Rousseau AND Voltaire who saught “mediocre Grimm’s” protection and friendship to their last, but does subconciously link his “Grimm” to Concino quoting Eleonora Caligaia * (not Galigai as usually written to make her French):
…Galigaï retourné: "J'avais sur la reine, disait la maréchale d'Ancre, l'influence qu'ont les esprits forts sur les esprits faibles!"
Your “mediocre Grimm”, monsieur, was “otherwise occupied” working for France and could not afford to waste his time writing a page a day.He (Chastellux) was however paralleled to Montesquieu for his history writings by none other than Voltaire.
French academicians have apparently forgotten Charles Nicholas Cochin’s “Misotechnites” and their important place in modern society.
Next: Everything is possible with music!
*"Καλιγά" today, a well known name from the Ionian isles and a good wine also. Originaly "Καλιγαία" meaning fertile land! Everything is possible with music! Two hundred years after his loss, it is perhaps time to say a few words to the memory of the man who, among others, also “managed” european music and, practically, all music masters of the second half of the 18th century!
As the lighter of other issues arising out of our revelation, music is our “next post” choice, the goal still being to persuade our readers of the soundness of our findings.
Gioachino Cocchi, an accomplished composer and stage manager already, Paris 1752, as “german Grimm”, started, with his “Le petit prophète de Boehmisch-Broda”, the “war of the buffoons” favouring italian Music to Rameau’s and, shortly before his appointment to the French Ministry of War(as Claude Louis comte de Saint Germain) concluded the next debate, “gluckists vs piccininists”, favouring his old friend , the “bohemian” Gluck, as “Chastellux” (a name first used by him in Vienna. See Metastasio’s letter to chevalier de Chastellux, 15 July 1756 :
“Your Highness ... I have made every effort to restore music to its true role of serving the poetry by means of its powers of expression...” )
...by not just anonymously translating to French Algarotti’s “Essai sur l’Opera”, published in Paris 1773, but also by translating and performing by Mme d’Epinay’s at La Chevrette and at Mme Genlis’s theatre in Chaussee d”Antin, Gluck’s Iphigénie en Aulide (1774) and propably “…en Tauride” as well (1776).
Gluck, Vienna’s court maestro before -and with many visits to London-a friend of J.C.Bach-who replaced Cocchi in London, around 1754-certainly knew him well and so did propably Rousseau (who did enjoy Gluck’s Paris performances as above at the time, a mystery today for music researchers, how he, “their" choice for buffonist leader, deviated from his earlier beliefs!)
....and...
....shortly before his trip (as Chastellux) to America, 1778, his hosting (as “Grimm” living with Mme d’Epinay then) of Mozart junior to Paris, their intended cooperation gone sour because of Mozart’s youth and singularity of character and his host’s “other duties” and personal problems all accumulating then. Yet we have as a result Mozart’s precious correspondence to his father providing us with details of our hero’s life at the time.
He knew**- and was of the same age with-Gluck (and Rousseau too and who is to say who the real composer of his "Devin" was) from their common stay in Naples and Venice, was propably impressed by and attacked him ironically as the “petit prophet from Bohemia"*-see note below- in 1752 but his choice for “Melchior Grimm” certainly came from a book:
“Der abenteuerliche Simplicissimus Teutsch, d.h. die Beschreibung des Lebens eines seltsamen Vaganten, genannt Melchior Sternfels von Fuchsheim” ....the greatest German novel of the 17th century by Hans Jakob Christoffel von Grimmelshausen.
His main task was indeed grim from then on and that's why Cocchi stopped producing opera pieces soon thereafter!
But, as stated, music has been the least of our concerns: The past few days the “parallel lifes” of “Chastellux”, “Grimm” and Cocchi have been examined in detail via his evergrowing timeline (some 80 pages A4 by now) and as it turns out, our multifaced hero’s cv is in fact so “dense”, so full, so important, fundamental and fascinating, as to distract the coolest of researchers.
It was therefore with great difficulty yourstruly could supress his emotions, keep his wits together and then dare separate relevant music personalities from others, even greater in their fields (political, philosophical, military).
Such must-and do-go, in real life, together but then, if this job, to keep them apart, is taken from our dear scholars, what would they do to earn a living?
Note *In 1752 Gluck was in Naples, where he had been called to compose an opera for the Teatro San Carlo. Although it was not originally intended for him, the libretto he decided to set was Metastasio’s La clemenza di Tito (copypasted from the web). 1750-51 Cocchi staged his operas in Venice and Metastasio was closely linked to him and family!
Note ** Following completion of this thread, yourstruly has realised that "Christoph Willibald Gluck" is, most propably,yet another persona of Cocchi, something that can easily be verified by those who have access to the text of "Le petit prophet" and enough interest in classical music (enough to call Romain Rolland-among others- a liar!). Among other relative evidence also see: Vitt-Maucher, Gisela. "E. T. A. Hoffmanns "Ritter Gluck" und E. A. Poe's "The Man of the Crowd": Eine Gegenuberstellung," The German Quarterly, 43 (1970), 35-46.
addendum to note**: In the meantime part of Le petite Prophete (first published 1744) has appeared online (Music & Culture in Eighteenth-century Europe by Enrico Fubini, Bonnie J. Blackburn, Wolfgang Freis, Lisa Gasbarrone, Michael Louis etc-THANKS). The text confirms imo that "Gluck" IS young Cocchi (aka Grimm, Chastellux, Dixmerie, Rousseau etc) and IS Saint Germain (a demonstration of tremendous self confidence and unlimited "Bourbon support" at the time)!!!
In short:
Our hero’s task, from 1752 to 1784, was not just to manage,control and censor muses, literary arts and sciences (alongside with cousin Charles Nicholas Cochin responsible for the secondary arts):
His main duty was what one would call today “Ministry of Culture” or in those Days “Propaganda fide”: To promote France’s interests worldwide.
Many worked for him but he also personaly undertook “frontline” assignments such as his travels to Russia and America.
He worked as a double agent within France as well: Monmorency,where “Epinay sur Seine” and La Chevrette are located, was Duc d’Orleans territory.
He lived in constant danger consequently and had to use multiple identities, had to lie, had to use other people’s identities when needed and, occasionally, have others appear propably as “Saint Germain”.
He was a planner, a stage manager, a protagonist, an actor, a liar…
….BUT….
He (as Grimm, Chastellux or Saint Germain) NEVER(*note) once mentioned the family name, in any form, in his (their) works, he NEVER revealed the family secret!
In his later years he himself tried to “correct” parts of his “other lifes” realising that “Chastellux” and “Grimm” at least would be scrutinised by historians and his main “lie” would leak, he therefore collected and send to his trusted friend Catherine not just her correspondence to him but Voltaire’s library, including her letters to Voltaire, Galiani’s, Diderot’s archives and anything else of relevance propably as well.
His correspondence to Mme d’Epinay is lost, what she, and other “salonieres” published , he controlled to begin with.
Rousseau’s “Confessions”-see JJRousseau's indicatory wiki bio: The work was "partly published", 1782, after Mme d'Epinay "stopped" him writing. "Grimm" was , understandably, absent(!)-remind the reader too much of their comic opera to be taken seriously historically!
On top of all that: His literary work was subsequent censored, modified and falsified by his eager biographers, friends and foes alike, the former to protect the Bourbons, the others to diminish him.
As such very little written on (or by) him is “dependable”.
Having double checked his “pile of piles” of a timeline, the following two “minor discrepancies” -only(!)-were found concerning his trips to Russia (late 1774-mid 1775) and America (1780-1782 as per his book), ie his two most important foreign diplomatic assignments by far.
A.With regard to the latter (first discrepancy):
He did not arrive to America with Rochambeau’s force-as often written-but later on in the year: He is registered present in his seigneury Epinay sur Orge on 17/06/1780 (at http://g.alhinc.free.fr/Epinay/Annees/1780) accompanied by his wife “Germain Marie Louise Elisabeth(F), reside a Paris, epouse du Parrain” ....
.....to be then welcomed by Rochambeau ….
...September 20, 1780 (Wednesday) Rochambeau and Chastellux made a round trip through Bolton during the trip to the Hartford Conference. They stayed at the White Tavern on Hutchinson Road, now Andover. (Bib 1 note 17 on pg. 25)
Back in France, his place (at Epinay sur Orge) is taken by a cousin of his “Cochin Henry” Conseiller d’etat seigneur d’epinay, (2/09/1780 ), who later declares himself as Cochin Henry avocat -garde archives de Lorraine**.
This happens 18/8/1782 at the funeral of his (Cochin-Cocchi-Chastellux's etc) daughter Marie Henriette’s (23 ans), also witnessed by Lambert Jean Philippe conseiller dy roi but not by either parent of unfortunate Marie!
As such, data of the Epinay sur Orge registry (site online) are trustworthy, something to remember while examining the second “discrepancy” in next post.
*Note: highly indicative that Chastellux even ommits astronomer Cassini from his books.
** Definitely another person, despite the name likeness: A branch of the family did live in Lorraine and was indeed in control of the Lorraine archive whereas our heroe's duties are registered (in same site) differently (councelor of the King, intendant of finances etc). The next discrepancy is not really minor:
11th October 1773 our hero is registered at Epinay (sur Orge) witnessing a marriage of a young couple with amusing (in bold) names…..
St marc Antoine Louis, 23 ans, résidant… Paris, Rue des 4 fils ,Ecuyer munitionaire des vivres, (S) fils de St marc Alexis Louis, Conseiller secretaire du roy, (S) et de Grosposte Scholastique, résidant… Paris, rue des 4 fils Ballon defferant Marc Marie Elisabeth, 17 ans, mineure, résidant… Paris rue St antoine, (S) fille de +Ballon defferant Claude Nicolas, Colonel d’infanterie, (S) et de Lavier Elisabeth , résidant… Paris rue St antoine
Tem: .Gosselin Alexandre Marie, résidant… Paris,rue des 4 fils, (S)
Prieur Jean, résidant… Paris rue du vieux colombier, ami de l’époux, (S)
Cochin Auguste Henry, résidant…Paris, rue de l’universite , ami de l’épouse, Intendant des finances, (S)
Baize Bernard Hyacinthe, résidant… Paris,rue de l’universite , ami de l’épouse, Controleur general des finances
( http://g.alhinc.free.fr/Epinay/Annees/1773)
….whereas his otherself, “Grimm”, is known, historically, to have been at St Petersburg, September 15th 1773 to spring 1774.
Wilhelmina Luisa von Hessen-Darmstadt was getting married to prince Paul, the wedding scheduled for October 9th, 1773, and Grimm accompanied her as her father(?), Kaiser Joseph I-this info, translated from a german site, is wrong! Joseph I died long before 1771-made him a baron in 1771.
Having –in previous post-labelled “dependable” his data of above Epinay site, what are we to assume, whom are we to trust?
Is every “scholar” lying ……
OR
….was our “unique revelation” on the main identities of Saint Germain so ridiculously WRONG? Last edited by yanni; 07-25-2008 at 11:25 AM. Reason: text 07-25-2008, 11:15 AM #10 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 Turning Pb into Au and v.v. Part 1
The closing question of last post, dear reader, kept me (“yourstruly”tires me) in meditation the last couple of days:
Not that I was for one moment unsure on the correctness of my findings and relevant statements made- the mind always knows better than the pen-but imagine what my virtual “scholarly opponent” would have made out of my hero’s “last discrepancy” at his Epinay (sur Orge) precious register!!
He falsified it and, like the historian he was, left his mark behind.
There is a clear message in the words he selected:
Grospost, Scholastique,Ballon,defferant:
No matter how the words are reordered, the message is
this is a gross lie, an empty message created out of neccessity by someone who cares for the detail,….
In addition:
Munitionaire des vivres:
An official position in French military, guardian of live munition (gun powder, explosives), “varatario” in Italian, the word already mentioned in “Poe Announcement”, a post held in Hydra by his cousin, Lazarus Cocchini*(Note below).
See also: p42 “Documents Illustrative of the Canadian Constitution” (Article 23, The capitulation of Montreal)!
rue des 4 fils :
Housing today the “fonds” of the pre-Revolutionary Academy of Art:
(Fonds de l'acadιmie : Archives nationals (rue des 4 fils).
http://byc.ch/hga/ressources.html it propably housed the Academy itself back then!
Thus his message should now read as above plus …. an artist at war
At the time he was all of that and more (In following part 2)
*Note: Not just Hydra: Recent research indicates that "Saint Germain" (under an alias-initials P.S.K.- still existing in Russia, hence not to be revealed) was captain of the guards of Saint Petersburg, 1774-5, and owned a house in the ammunition yard next to Catherine's Palace Last edited by yanni; 09-24-2008 at 04:13 AM. Reason: add note re his "varatario" duties in Saint Petersburg!! 07-26-2008, 01:11 AM #11 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 continued from previous Part 2
No, not magic, just hard work:
His coded message was ONLY received AFTER* (note 1) his timeline was filled in detail (1769-1775) and then examined together with relevant books**(note 2).
There were other letters as well written by him while in Russia at the time (I.Gorbatov) and the conclusions:
-he was indeed in St Petersburg***(note 3),
-did trust Voltaire
-(and therefore his Epinay data were “not so dependable”)...
...were thus reached….
….but “something was wrong" with Mlle L’Espinasse’s correspondence to Guibert and had to be clarified! (part 3 following)
Note 1 Before that, when the second discrepancy was originally noticed, the first thoughts were: He had either persuaded Catherine to mislead Voltaire (her letter to Voltaire re his presence in St Petersburg as from September 15th, 1773) for some reason or that he perhaps had falsified her correspondence, following Voltaire’s death in 1778, when he intermediated for his library and her letters be send to her in Russia.
Note 2 Mainly:
a)The Republic of Letters: A Cultural History of the French Enlightenment by Dena Goodman.
b) The Story of a Throne (Catherine II. of Russia) by Kazimierz Waliszewski
c) Full text of “Letters Mlle De Lespinasse”
http://www.archive.org/stream/letter...68mbp_djvu.txt
d) Catherine the Great and the French Philosophers of the Enlightenment (Inna Gorbatov).
Note 3 Narishkin(not Cocchi-"Grimm") accompanies Diderot from Holland to St Petersburg. The wedding scheduled for October 9, 1773. They arrive October 8th. Everybody knew the wedding was engineered by Grimm. (p167, 168 ) Catherine writes to Voltaire(Sept 11/22,1773) that Grimm has been in Petersburg from the mid September 1773. Grimm writes two letters to Nesselrode, 2nd and 19th November 1773(page 176) and another two Jan 14th and feb 7th. Frederick dislikes Diderot (p180). From September 1773 to April 1774 Grimm met and had long conversations with Catherine almost daily. (p214) -in page 213 the “classic story” on Grimm. In pages 221-222 few letters she wrote him 1779(one), sept 7, 1780 (one) and then 1787 (one) and 1791 (one) etc. (I.Gorbatov) Last edited by yanni; 08-30-2008 at 12:10 PM. Reason: text 07-28-2008, 07:51 AM #12 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 continued from previous Part 3
“something was wrong" with Mlle L’Espinasse’s correspondence….
Mle L’Espinasse and her letters to Guibert*(note 5) (June, 1773 to December, 1775) guided me to the recent discovery of Kaiser Frederic’s correspondence to “Grimm&Co" and thereby to Frederic’s older links to Cocchi&family *1(note below). Having in the meantime supplemented my timeline accordingly, I can now neither complain for the nauseating and nonsensical nonentity of her and- the sorry adventure of-her “correspondences“, nor for the distinct limits of imagination of her numerous creators*2, among them a “M.Charles Henry“- known to us already from the Poe Announcement, Cocchi’s only known "french legitimate" son who also kept Charles Nicholas Cochin(fils)'s unpublished biography- who appears among her editors in 1887*3, ie posthumously! (27 June 1771 at Epinay sur Orge: The baptism of Cochin Henry Charles (4 months old) father and mother absent)
In a philanthropic mood today, I moreover refuse to address the issue of her fictitious character from a psychoanalytic perspective and do really feel a compassion for the many lost souls who were taken in to do so over time, lady writers in particular!
Mle L’Espinasse’s freakish carricature, who allegedly “assisted’’ Chastellux obtain a seat (#2) in Académie française, le 27 avril 1775.....
.....was in fact born 1809 specifically to give life to “Grimm, Chastellux and Claude Louis de Saint Germain’’ for reasons already explained (see also note 2).
She did exist nevertheless (possibly as Mme d’Epinay’s alias-a part of her lost correspondence to Cocchi-"Grimm" is possibly used) eversince 1775 but was highly suspect and "invisible" at the time and thereafter, otherwise Buffon, Cocchi’s associate and president of the Académie française-(fauteuil #1)-who promoted "Chastellux" to his Academy as above, would not have written his February 25th 1775 LETTRE CCXII A MADAME NECKER insisting he had never seen her.
For all the above, my compliments to her creators as well as those who maintain her myth-among others-those in particular who have…..
….décidé de se limiter, dans un premier temps, à ce qu'il est convenu d'appeler la «période Grimm», celle qui va….a fin février 1773.*4
They helped me a lot!
Bonjour La France
Note 1: google for "Barbara Campanini, Ludwig and Heinrich von Cocceji" -will it ever end this name game? !
Note 2:ready to justify all adjectives used if needed, preferably when the summer is over.
Note 3:Lettres inédites de Mademoiselle de Lespinasse à Condorcet, à d'Alembert, à Guibert, au comte de Crillon. Publiées avec des lettres de ses amis, des documents nouveaux et une étude par M. Charles Henry. Paris, Dentu, 1887!
Note 4:http://c18.net/cl/cl_pages.php?nom=cl_projet
Note 5: see http://infomotions.com/etexts/gutenb...00/21frd10.htm
L'Espinasse's "Guibert" is another alias of Saint Germain. Last edited by yanni; 08-30-2008 at 12:11 PM. Reason: add note 5 07-31-2008, 12:52 AM #13 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 "Avaunt! avaunt! from fiends below, the indignant ghost is riven…" The glory of a nation and an age is always the work of a few great persons, and it dissappears with them .....
.....wrote Cocchi-“Grimm”, allegedly from Gotha-Weishaupt’s last refuge-to then conclude...
....My writing will kill me!
Following his wishes to the letter, French historians, including- even headed by-his French cousins, decided to assist him vanish, killing and burying him along with their national pride and self respect,after loosing what he had accomplished for France.
Two centuries from his death, it’s not just the hired scholars we saw “researching” him indefinitely, it’s the others too, those particular “willing individuals” driven by the very same “dark forces”, his enemies, that continue the big lie, calling him names, a “charlatan comte de Saint Germain” who “sided with Weishaupt’s Illuminati and Cagliostro”!
Thanks to the web, this will end and he will be reinstated...
…from grief and groan, to a golden throne, beside the King of Heaven!
Afterall he did side with Rome as well in 1775! Last edited by yanni; 07-31-2008 at 12:55 AM. Reason: presentation 08-02-2008, 02:30 PM #14 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 …to a golden throne, beside the King of Heaven… …possibly, but perhaps not: Who knows what’s on the other side?
He never pretended he did know, he remained to the end a sceptic …and an enlightened monarchist as well!
His last years were spent in great wealth, among art treasures he had ammased throughout his life, in his Palace in Saint Petersburg and died in full years, 1811.
Count Alexander Sergeievitch Stroganoff, Cocchi-Saint Germain’s last alias!
(To be sufficiently documented in next) Last edited by yanni; 08-02-2008 at 10:14 PM. 08-03-2008, 02:01 AM #15 yanni publisher wanted
Join Date: Dec 2005 Location: Athens Greece Posts: 649 Strogonov The road to reach and witness Saint Germain’s 1811 ascencion as “Strogonov”, begins 1778 with Voltaire’s initiation -Ben Franklin was also initiated that day-to the Lodge of the Nine Sisters (Neuf soeurs, the nine parts of the "world" as administered by The Strict Observance)-in Paris.
A controversial initiation, less than two months before his death, and by a Russian count no less!
As “Grimm” recalls:
….a franc-maçonnerie. Il a été reçu en particulier par M. le comte de Strogonoff; il l’a été dans la loge des Neuf-Soeurs….http://www.voltaire-integral.com/Grimm/Avr1778.html
Surely a strange “last will and testament” by Ferney’s patriarch requiring further examination:
It turns out this Russian count…
…having received his count title by the Holy Roman Emperor himself
http://www.imperialcollegeofprincesa...wsn/page3.html
….…a distinguished member of the “Strict Observance” known as “ab Amiantho” as well (wwww.oisot.com/Obituaire_SOT.php )
…his immense fortune,originating from fur and fair trading practices ,enabled him to built his Palace at 17, Nevsky Prospekt, Saint Petersburg
(http://www.nevsky-prospekt.com/palaces/thepalaces.html) ….
…a “European art collector” kind of man who…
..avait fait comme eux plusieurs séjours en France et avait formé une collection rare de tableaux, médailles et gravures et réuni une riche bibliothèque ; il logeait dans son palais et pensionnait les artistes et les gens de lettres pauvres. …..
For his efforts to civilize Russia, Catherine appointed him….
….président de l’Académie des beaux-arts de Saint-Pétersbourg.
http://www.buffon.cnrs.fr/correspond...20BUFFON&dest=
Curiously enough however…..
1)According to "Saint-Pétersbourg ou l'enlèvement d'Europe" by
Natalia Smirnova, Historienne et écrivain
(http://www.clio.fr/BIBLIOTHEQUE/sain...t_d_europe.asp )
President of the Academy was NOT Strogonoff ...
....but ...
“Grimm’s” friend …le comte Chouvalov, président de l'Académie, avait commandé les plans d'un bâtiment que l'on voulait alors installer à Moscou…
(Whereas a strange Russian architect actually designed the Saint Petersburg Academy:L'architecte russe Alexandre Kokorinov *(see Note below)élabora les plans de l'actuelle Académie de Saint-Pétersbourg à partir de ce projet, avec l'aide de Jean-Baptiste Vallin de la Mothe….)
2)Inna Gorbatov-in her book on Catherine (mentioned in previous post)-carefully avoids to mention “Stroganoff” or "Strogonov" etc-going as far in fact as to avoid mentioning the word “arts" alltogether
Finally:
In a relative study titled “Du Moujik à l'artiste." (L'académie impériale des beaux-arts de Saint-Pétersbourg (1757-1802)), Thèse soutenue en 2000 at Sorbonne, Paris, France:
Count Strogonov, the strange parisien Russian, is also carefully and totally avoided- unlike “Grimm” receiving discreetly the relative laurels-the “misunderstanding” attributed to “les archives”…
Les archives de l'Académie des beaux-arts de Saint-Pétersbourg antérieures à 1917 sont conservées dans le fonds 789 des Archives historiques de l'Etat russe à Saint-Pétersbourg ; une partie de ce fonds a été publiée entre 1864 et 1866 par Piotr N. Petrov à l'occasion du centenaire de la réforme de Catherine II. Les Archives centrales des actes anciens de Russie, situées à Moscou, comprennent la correspondance privée des souverains russes, notamment celle de Catherine II avec Melchior Grimm.
..whereas the duties of “Stroganov”- to invite young european artists to Saint Petersburg- are delicately transferred to “Grimm”:
A la fin d'un cycle complet d'études, les meilleurs étudiants, en termes de résultats, mais aussi de comportement, étaient envoyés à Paris pour se former auprès de ceux que les autorités académiques considéraient comme les meilleurs artistes de l'Europe, et à Rome pour y découvrir “ les grands modèles éternels ” selon les termes du baron Melchior Grimm dans une lettre à Catherine II. Les rapports trimestriels qu'ils avaient l'obligation d'envoyer représentent la source la plus complète et la plus précise dont pouvait disposer la Russie sur l'actualité artistique occidentale. Les problèmes de discipline ne peuvent occulter l'utilité d'un tel séjour, puisque la quasi-totalité des professeurs académiques étaient anciens pensionnaires.
http://theses.enc.sorbonne.fr/document4.html
Catherine never corresponded with her "count Srogonov" while he was in Paris nor does his name appear in any of her letters to "Grimm".
QED
Bonjour Sorbonne!
Note: He was not a "young c o c k" (κοκÏŒρι in grk) anymore at the time but, as a devoted life long vegetarian, he was "functional" to his very end! (possibly the subject of next post) http://www.online-literature.com/forums/showthread.php?p=588533
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FAIR USE NOTICE
This site may contains some copyrighted material which has not been specifically authorized by the copyright owner. We are making such material available in our efforts to advance understanding and knowledge through educational issues. This constitutes a 'fair use' of any such copyrighted material as provided for in section 107 of the US Copyright Law, in accordance with Title 17 U.S.C. Section 107. The material on this site is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes.
The owners and publishers of these pages wish to state that the material presented here that is the product of our research is offered with the caveat that the reader ought always to research on their own. We invite the reader to share in our Seeking of Truth by reading with an Open, but skeptical mind. We constantly seek to validate and/or refine what we understand to be either possible or probable or both. We do this in the sincere hope that all of mankind will benefit, if not now, then at some point in one of our probable futures. If you wish to use copyrighted material from this site for purposes of your own that go beyond 'fair use', you must obtain permission from the copyright owner