SKIT_5: ANGRYcomposerBYRDS_PART 1

(namely ''Ein Mädchen oder Weibchen'' which is based on a theme by Michael Haydn from 1771/78; Symphony No. 17, 4th movement - which means we now have two cool composers for the price of one.)

HANDEL virtually ran away from BACH, who had at least twice invited HANDEL to stay in Leipzig and eat/play with him.

BACH jumped a student with a knife (BACH said student's playing sucked and student hit BACH across the cheek then BACH pulled out the knife ...)

while HANDEL was in a pistol duel and a brass button stopped the bullet, hence saved his life.
Naturally, if they would have met and played out* of tune, BACH would not have missed ...

BACH always had troubles with his eye sight, in last year of his life he got blind, was in great pain as his doctor was treating him with BYRDdroppings -

BACH consequently suffered a stroke and died.

BACH rigorously groomed his eldest son FRIEDEMANN in *Contrapunctus* and did not look too kindly upon *schöne Liedchen* (nice songs in diminutive) -

consequently, FRIEDEMANN was the only other BACH who close-to-never wrote easy, simple or enjoyably-light-mood music ... Friede is the CO-AUTHOR of Die Kunst der Fuge.

... SCARLATTI is just ... H.O.T. ...

Beautiful harpsichord sonatas from this court composer, otherwise a betting man, in debts all over ...

COUPERIN wrote many ballets for French court. Amusing to imagine enraged ballet master, possessed by envy and anger, taking it out on a harpsichord ...

SCARLATTI never actually knocked God out but if anyone could bring Him down, SCARLATTI would. He has superhero powers. Really.

HAYDN and MOZART were best chums and are simply wonderful together - why take it apart if it works?

ALBEIT - towards end of his life, according to Haydn's? wife - Mozart might have been less favourable towards Haydn, felt Haydn has nothing left to offer,

he was, after all - Mozart's senior. When Haydn learned of this, he said: "I cannot believe it," he cried; "if it is true, I will forgive him."

Jo Haydn is also one of the most inventive musicians *or thieves, cough* EVER and his late works, like The Wanderer song, are beginning to lean towards romanticism.

FRIEDEMANN BACH is one of very few sources of SEBASTIAN's manuscripts and NOT a reliable witness ...

Was a superbly brilliant harpsichord and organ improviser and very well known as such. He was also quite dependent on his pops

and suffered somewhat of a breakdown after SEBASTIAN died (FRIEDE did keep a score his dad gave him which - as a kid - he was supposed to practice *drei mal* and

it held inscription: *Du bist (m)ein gutes Jüngelchen* - ''You are a/my good little boy'' - really, for a grown up man to keep his pop's praise ...)

Daughter Sophia said he was a deeply religious, sad man. Felt miserable and under-appreciated a lot.

Tried to be a free-spirited thinker, faithfully skipped Sunday service

(in churches where he was supposed to play/write music for/or be otherwise employed)

to prove a point (albeit 15 years of pure obedience speaks in his favour, there were only a few complaints, really), held strong opinions of his own

and was for the last 20 years an ''independent free-lance contractor''

(there were others who have pulled this stunt off successfully and even earlier.) ... Only one source ever mentioned FRIEDE being a drunkard -

which his jobbing life, teaching and general longevity might also disprove. .. .. .. BEETHOVEN however, ...

Violinist VIVALDI was red-haired and a priest, therefore nicknamed, here's a brainer: The Red Priest. He suffered from ''tightness of chest'' (possibly asthma - couldn't breathe)

and worked in midst of (and wrote stacks of music for) very talented women, especially lady BASS and, like Salieri, lady TENOR singers! ... Also, Italians are very big on curses and evil-eye-thing ...

Somebody should take BEETHOVEN down a notch, he's on my top shelf and there's this immense weight of CDs ...

In many ways, FRIEDEMANN is sort of pre-BEETHOVEN but LUD only got to the Grosse Fuge at the very last moment;

FRIEDE's been experimenting with it for all his life. However LUD went through three stages of musical development while FRIEDE had just the one (but it had many faces.)

That is - provided the works we today seem to proclaim as his - really are his: the later mentioned Sonata in A minor fails - because it was, like a couple of other ''WF'' works, written by Häßler!