1774

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 1. The Mourning of Eurydice (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

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Duration: 10:19
Published: 10 Jan 2009
Uploaded: 06 Aug 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work has much in common with that of "Orfeo". Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The changes, though seemingly insignificant, are actually essential to the work's inner equilibrium. First off, the libretto is given a French translation which does shift some of the accents. Next, and more importantly, the work is greatly expanded, including the addition of a bravura, coloratura-filled aria for Orfeo at the close of Act 1, a more elaborate dance of the blessed spirits and an aria for Eurydice during the Elysium scene; the transformation of the B section of Eurydice's second aria into an intense duettino for the lovers; a penultimate terzet for all three characters and a large ballet for the end of the opera; thus, the work's original omissions ...

US Founding: Tavern to Tavern 1774-1789

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Duration: 10:00
Published: 17 Sep 2008
Uploaded: 29 Jul 2011
Author: stanklos

The United States was founded in the City Tavern of Philadelphia in 1774. where the Continental Congress Assembled held their first caucus. After 15 years of war, hyper-infalation, rebellions, and a failed federal government the US Confederation died after delivering a new USA Republic to We The People from a New York City Tavern. The US Founding Capitol Buildings include Philadelphia's City Tavern, Carpenters Hall, College Hall, and Pennsylvania State House; Baltimore's Henry Fite House, Lancaster Court House, York Court House, Princeton's Prospect House & Nassau Hall; Annapolis' Maryland State House, Trenton's French Arms Tavern; and New York City's Fraunces Tavern. and old City Hall,

Niccolò Jommelli (1714-1774) - Ouverture e Ciaccona in mi bemolle maggiore

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Duration: 9:07
Published: 31 Oct 2009
Uploaded: 31 Jul 2011
Author: theprof1958

Arturo Sacchetti, organo della Chiesa della SS.Trinità in Santhià (not in the picture) The organ's structure The organ is housed within a wooden case decorated with white and grey and is yet against the wall under the ceiling arch by the entrance. It is mechanical with one keyboard (CI - G5 extension = 56 keys) and a chromatic lectern peddle board (CI - D2 extension = 15 keys + keys for the rullo and the terza mano) Full-organ stop beam also for free combination alia lombarda. Organ facade pipe: "ottava 4'" stop. Blown windchest, with wedge bellows. Lever stops on two columns on right hand side: Bassoon bass 8' Trumpet treble 8' Orchestral flute 8' treble Harmonic flute 4' treble Viola bass 4' Flageolet 2' Twelfth 2' 2/3 treble Vox Humana 8' Concert harp (By combination: Orchestral flute 8' - Twelfth T2/3) Pedal coupler to key Open Diapason 8' bass Open Diapason 8' treble Octave bass 4' Octave treble 4' Fifteenth 2' Nineteenth 1'1/3 Twenty-second 1' Mixture two ranks (Twenty-sixth, Twenty-ninth) Double bass 16' Third Hand

Empire: Total War - Russo-Turkish War (1768-1774) - Historical Battle

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Duration: 9:34
Published: 31 Jul 2009
Uploaded: 30 Jul 2011
Author: scharf05

!!! SUBSCRIBE !!! White Knight Total War Presents: The Russo-Turkish War (1768-1774), a Historical Battle of the War Battle Type: Attack Historical Battle: Yes Human: Russia PC: Ottoman Empire Brifefing: This video is a simulation of one of the many battles of the Russo-Turkish Wars. It is a massive attack against the Ottoman Empire forces, with at least 3000 units both. Music: ( All can be found at youtube, just copy and past the names) 1796 Imperial Russian March Preobrajensky March Turkish Military March - Mehter Marsi - Yelkenler Bicilecek Red Army Choir - The Cossacks Song Cossacks never say die Historical Briefing: The Russo-Turkish War of 17681774 was a decisive conflict that brought Southern Ukraine, Northern Caucasus, and Crimea within the orbit of the Russian Empire. The war followed the internal tensions within Poland where there was the strife between the nobility and the king Stanislaus Augustus Poniatowski, former favorite of the Russian Empress Catherine II. The king was dependent on Russian military backing. A detachment of Cossacks in Russian service entered Balta (on Ottoman territory) during the pursuit of a Polish Bar Confederation force. The Ottoman Empire accused the troops of having conducted the slaughter of its subjects in the town of Balta, a charge denied by the Russian authorities. Following this border incident at Balta, Sultan Mustafa III declared war on Russia on September 25, 1768. The Turks formed the alliance with the Polish oppositionary ...

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 5. Dance of the Furies (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Order: Reorder
Duration: 3:56
Published: 11 Jan 2009
Uploaded: 29 Jun 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work, in particular, the rescue of Pollux by Castor from the infernal regions, has much in common with that of "Orfeo", so it is possible that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common. Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process, to suit the tastes of the audience at the Academie Royale de Musique. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The recording presented here is Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. Finally, here is a link to the complete libretto: opera.stanford.edu Hope you'll enjoy :). No. 8. Dance of the Furies. The original version of "Orfeo" featured quite a ...

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 4. The Furies (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Order: Reorder
Duration: 10:44
Published: 11 Jan 2009
Uploaded: 15 Jul 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work, in particular, the rescue of Pollux by Castor from the infernal regions, has much in common with that of "Orfeo", so it is possible that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common. Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process, to suit the tastes of the audience at the Academie Royale de Musique. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The recording presented here is Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. Finally, here is a link to the complete libretto: opera.stanford.edu Hope you'll enjoy :). No. 7. Scena - "Quel est l'audacieux". The scene between the chorus of ...

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 10. The Final Return of Eurydice (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Order: Reorder
Duration: 8:49
Published: 11 Jan 2009
Uploaded: 09 Jul 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work, in particular, the rescue of Pollux by Castor from the infernal regions, has much in common with that of "Orfeo", so it is possible that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common. Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process, to suit the tastes of the audience at the Academie Royale de Musique. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The recording presented here is Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. Finally, here is a link to the complete libretto: opera.stanford.edu Hope you'll enjoy :). No. 15. Terzet & Finale - "Tendre amour, que tes chaines" & "L'Amour ...

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 2. Orpheus' First Lament & The Appearance of Eros (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Order: Reorder
Duration: 9:36
Published: 11 Jan 2009
Uploaded: 29 Jul 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work, in particular, the rescue of Pollux by Castor from the infernal regions, has much in common with that of "Orfeo", so it is possible that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common. Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process, to suit the tastes of the audience at the Academie Royale de Musique. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The recording presented here is Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. Finally, here is a link to the complete libretto: opera.stanford.edu Hope you'll enjoy :). No. 3. Scena - "Objet de mon amour". In an interesting touch by the composer ...

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 6. Elysium & Dance of the Blessed Spirits (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Order: Reorder
Duration: 9:28
Published: 11 Jan 2009
Uploaded: 16 Jul 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work, in particular, the rescue of Pollux by Castor from the infernal regions, has much in common with that of "Orfeo", so it is possible that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common. Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process, to suit the tastes of the audience at the Academie Royale de Musique. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The recording presented here is Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. Finally, here is a link to the complete libretto: opera.stanford.edu Hope you'll enjoy :). No. 9. Dance of the Blessed Spirits. The gently pastoral Dance of the ...

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 3. The Resolve of Orpheus (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Order: Reorder
Duration: 7:05
Published: 11 Jan 2009
Uploaded: 06 Jul 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work, in particular, the rescue of Pollux by Castor from the infernal regions, has much in common with that of "Orfeo", so it is possible that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common. Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process, to suit the tastes of the audience at the Academie Royale de Musique. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The recording presented here is Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. Finally, here is a link to the complete libretto: opera.stanford.edu Hope you'll enjoy :). No. 5. Aria - "Soumis au silence". Another aria of reassurance for Amour ...

František Ignác Tůma (1704-1774) - Stabat Mater (1/2)

Order: Reorder
Duration: 10:06
Published: 06 May 2010
Uploaded: 18 Mar 2011
Author: theprof1958

Prague Madrigalists directed by Pavel Báxa video from "The Living Christ Series (1951)" www.archive.org part two www.youtube.com

SEARS KENMORE MODEL 1774 SEWING MACHINE

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Duration: 9:07
Published: 03 Aug 2010
Uploaded: 18 Mar 2011
Author: tonysmoke20

THIS IS A WONDERFUL MACHINE. HEAVY DUTY, SMOOTH AND CLEAN!! 1.2 AMP MOTOR, BUILT IN STITCHES AS WELL AS CAM-COMPATIBLE! BEAUTIFUL CONSISTENT STITCHES AS WELL AS POWER & DURABILITY. THE PERFECT MACHINE =)

Mobile Billboards - Call 866-446-1774 - Billboards

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Duration: 1:33
Published: 05 Jul 2011
Uploaded: 05 Jul 2011
Author: mobilebillboardsads

Call 866-446-1774 or visit www.limevizio.com Mobile Billboards - Call 866-446-1774 - Billboards Mobile billboards advertising creates brand connections with consumers through the use of BioDiesel powered mobile billboard trucks, scrolling mobile billboards, 3D truck showrooms and mobile...

Sonic Unleashed (360) - Jungle Joyride 1 Ring Attack - 1774 Rings

Order: Reorder
Duration: 10:25
Published: 10 May 2009
Uploaded: 30 Jul 2011
Author: Paraxade0

Ring attack of Jungle Joyride 1 that picks up EVERY... SINGLE... RING. There's 1774 total... this is actually the third time I've done this, the first time I missed three and ended up with 1771 and the third time I was redoing it to make a vid. Enjoy anyway... oh, and samourai23 gave me most of the route for the first 2D section (everything except the wall jump to get the last five), so thanks to him.

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 8. The Conflict of the Lovers (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Order: Reorder
Duration: 10:52
Published: 11 Jan 2009
Uploaded: 15 Jul 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work, in particular, the rescue of Pollux by Castor from the infernal regions, has much in common with that of "Orfeo", so it is possible that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common. Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process, to suit the tastes of the audience at the Academie Royale de Musique. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The recording presented here is Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. Finally, here is a link to the complete libretto: opera.stanford.edu Hope you'll enjoy :). No. 12. Duet - "Viens, suis un epoux". This piece seems rather problematic ...

Mobile Billboards Los Angeles - Call 866-446-1774 in Los Angeles

Order: Reorder
Duration: 1:34
Published: 05 Jul 2011
Uploaded: 05 Jul 2011
Author: mobilebillboardsads

Call 866-446-1774 or visit www.limevizio.com Mobile Billboards Los Angeles - Call 866-446-1774 in Los Angeles Mobile billboards Los Angeles advertising creates brand connections with consumers through the use of BioDiesel powered mobile billboard trucks, scrolling mobile billboards, 3D...

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 9. The Loss of Eurydice and The Second Lament of Orpheus (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Order: Reorder
Duration: 7:18
Published: 11 Jan 2009
Uploaded: 03 Jul 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work, in particular, the rescue of Pollux by Castor from the infernal regions, has much in common with that of "Orfeo", so it is possible that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common. Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process, to suit the tastes of the audience at the Academie Royale de Musique. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The recording presented here is Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. Finally, here is a link to the complete libretto: opera.stanford.edu Hope you'll enjoy :). No. 14. Aria - "J'ai perdu mon Eurydice". Orphee second lament would have to ...

Gluck - Dance of The Furies from Orphée et Euridice (Paris 1774)

Order: Reorder
Duration: 4:07
Published: 24 Apr 2011
Uploaded: 29 Jul 2011
Author: mozpiano2

Christoph Willibald Ritter von Gluck (1714 - 1787) Dance of The Furies from Orphée et Euridice (Paris 1774) Australian Brandenburg Orchestra conducted by Paul Dyer This piece reminds me of the last movement of Boccherini's Symphony No. 6 in D minor, Op 12 No 4 (La casa del diavolo) (listen here from 10.32 onwards www.youtube.com )

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 7. Orpheus among the Blessed Spirits (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Order: Reorder
Duration: 8:51
Published: 11 Jan 2009
Uploaded: 29 Jun 2011
Author: LindoroRossini

Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work, in particular, the rescue of Pollux by Castor from the infernal regions, has much in common with that of "Orfeo", so it is possible that Gluck took many hints from Rameau's musical treatment of the various scenes which the two works have in common. Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process, to suit the tastes of the audience at the Academie Royale de Musique. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The recording presented here is Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. Finally, here is a link to the complete libretto: opera.stanford.edu Hope you'll enjoy :). No. 11. Scena, Chorus, Dance & Chorus - "Quel nouveau ciel par ces lieux ...

Haydn - Arietta con Variazioni in E flat major Hob. XVII:3 (1774) - Gerard van Reenen

Order: Reorder
Duration: 9:20
Published: 05 Dec 2009
Uploaded: 20 May 2011
Author: GerardvanR

Haydn composed till about 1775 for the harpsichord and after that for harpsichord or forte-piano. This piece sounds very well on the harpsichord, I think. This instrument is a two-manual harpsichord after Dulcken (1757). Info: www.gerardvanreenen.nl

Vaclav Jan Tomasek (1774-1850): Requiem in C Minor (05)

Order: Reorder
Duration: 9:30
Published: 02 Apr 2010
Uploaded: 16 Mar 2011
Author: agir3

CZECH MUSIC OF 18TH. CENTURY Benedictus Magdalena Hajossyova - Soprano Marta Benackova - Contralto Vaclav Dolezal - Tenor Milan Bürger - Bass Kühn Mixed Choir Prague Philharmonic Bohumil Kulinsky Add to URL: &fmt=18 (better quality)

Barokní věžní hodiny z roku 1774

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Duration: 1:58
Published: 24 Feb 2009
Uploaded: 15 Jul 2011
Author: usernamefilipes

Barokní zámecké věžní hodiny pražského královského hodináře Sebastiana Londenspergera z roku 1774.

The Declaratory Act (1766) to the Coercive Acts (1774)

Order: Reorder
Duration: 23:20
Published: 09 Jan 2011
Uploaded: 14 Mar 2011
Author: johnnieapples9

The British goverrnment sought new sources of revenue in America and determined to keep its political and economic control over her North American colonies, passed a series of laws in Parliament that eventual sparked the the start the American Revolution.

1774

Events

January–June

July–December

Date unknown

Births

Deaths

References