Wikimedia Commons has media related to: 1744

Year 1744 (MDCCXLIV) was a leap year starting on Wednesday (link will display the full calendar) of the Gregorian calendar and a leap year starting on Sunday of the 11-day slower Julian calendar.

Events[link]

January–June[link]

• January 24 – The Dagohoy Rebellion begins with the killing of Father Giuseppe Lamberti.
• February 22–February 23 – Battle of Toulon: The British fleet is defeated by a Franco-Spanish fleet.
• March 1 (approximately) – The Great Comet of 1744, one of the brightest ever seen, reaches perihelion
• March 15 – France declares war on Great Britain.
• April 20 – Battle of Villafranca (1744): A joint French and Spanish force defeats Britain and Sardinia.
• June 28 – Catherine the Great is received into the Russian Orthodox Church.

July–December[link]

• July 19 – Battle of Casteldelfino: France defeats the Kingdom of Sardinia.
• September 30 – Battle of Madonna dell'Olmo: France and Spain defeat the Kingdom of Sardinia.

Date unknown[link]

• The third French and Indian War, known as King George's War, breaks out at Port Royal, Nova Scotia.
• The First Saudi State is founded by Mohammed Ibn Saud.
• Prague is occupied by Prussian armies.

Births[link]

• January 10 – Thomas Mifflin, fifth President of the United States in Congress assembled under the Articles of Confederation (d. 1800)
• February 6 – Pierre-Joseph Desault, French anatomist and surgeon (d. 1795)
• May 19 – Charlotte of Mecklenburg-Strelitz, queen of George III of Great Britain (d. 1818)
• May 21 – Samuel Ireland, British author and engraver (d. 1800)
• May 31 – Richard Lovell Edgeworth, Anglo-Irish, politician writer and inventor (d. 1817)
• July 17 – Elbridge Gerry, American politician (d. 1814)
• July 20 – Joshua Clayton, American politician (d. 1798)
• August 1 – Jean-Baptiste Lamarck, French naturalist (d. 1829)
• August 25 – Johann Gottfried Herder, German writer (d. 1803)
• September 25 – King Frederick William II of Prussia (d. 1797)
• November 11 – Abigail Adams, wife of American President John Adams (d. 1818)

Deaths[link]

• January 23 – Giambattista Vico, Italian philosopher and historian (b. 1668)
• January 26 – Ludwig Andreas Graf Khevenhüller, Austrian field marshal (b. 1683)
• February 11 – Hedvig Taube, mistress to King Frederick I of Sweden (b. 1714)
• March 3 – Jean Barbeyrac, French jurist (b. 1674)
• April 25 – Anders Celsius, Swedish astronomer (b. 1701)
• May 30 – Alexander Pope, English writer (b. 1688)
• June 29 – André Campra, French composer (b. 1660)
• July – Mihai Racoviţă, Prince of Moldavia and Prince of Wallachia
• August 9 – James Brydges, 1st Duke of Chandos, English patron of the arts (b. 1673)
• August 13 – John Cruger, Dutch-born Mayor of New York (b. 1678)
• August 26 – William Byrd II, prominent planter from Virginia (b. 1674)
• September 28 – Princess Thérèse of France, estranged daughter of Louis XV of France (b.1736)
• October 18 – Sarah Churchill, Duchess of Marlborough, English friend of Anne of England (b. 1660)
• October 31 – Leonardo Leo, Italian composer (b. 1694)
• December 8 – Marie-Anne de Mailly-Nesle duchess de Châteauroux, French mistress of King Louis XV (b. 1717)

References[link]

Jacques Duphly (January 12, 1715 – July 15, 1789) was a French harpsichordist and organist, and the composer of bright, lively, and attractive keyboard music.

Biography[link]

He was born in Rouen, France, the son of Jacques-Agathe Duphly and Marie-Louise Boivin. As a boy, he studied the harpsichord and organ, and was employed as organist at the cathedral in Évreux.

His teacher was François d'Agincourt.

On 11 September 1734 'le sieur Dufliq, organist of the cathedral of Évreux' applied for a position at the church at St. Eloi; the register goes on to make clear that he had been trained by Dagincourt at Rouen, went to Évreux (c. 1732) for what must have been his first appointment (he was only 19 when he resigned from it) and returned to his native parish. His tenure at St Eloi began inauspiciously since the old man he was replacing did not take kindly to this personnel decision, and locked the organ loft before he left and threw away the key, but the church quickly changed the locks. To St Eloi he added Notre Dame de la Ronde in 1740, his sister Marie-Anne-Agathe sometimes substituting for him when duties conflicted. He left both appointments in 1742 and moved to Paris. According to the clerk of St Eloi, it was affairs that drew him there, but other reports suggest that it was the realization that he would do better as a specialist of the harpsichord in Paris than as an organist in Rouen. Therefore in 1742 he settled in Paris, making his name as a harpsichordist, teacher and composer. He was praised for his light touch and a great ability to bring out the character of the pieces. In 1742, after the death of his father, Duphly moved to Paris, where he became famous as a performer and teacher. He was considered by Pascal Taskin, the harpsichord maker, to be one of the best teachers in Paris.

Music[link]

He started publishing books of original harpsichord music in 1744. His popularity continued to increase into the 1760s, and he published more volumes of harpsichord music. His four harpsichord collections (1744–68) are modelled chiefly on Rameau's. Book 3 (1758) includes a long, brilliant chaconne and a savage tirade, La Médée. In all, he published four volumes of harpsichord music (1744, 1748, 1756 and 1768). Book 4 of his harpsichord music contains the enchanting (and still regularly played today) rondeau, 'La Pothouin'.

Friedrich Wilhelm Marpurg remarked (in 1754) that Duphly, a pupil of Dagincourt, plays the harpsichord only, in order, as he says, "not to spoil his hand with the organ. He lives in Paris, where he instructs the leading families."^{[citation needed]} His reputation seems to have reached its peak in the 1750s and 60s. Marpurg's ‘Raccolta delle piu nuove composizioni di clavicembalo, ii’ (1757), contains a pair of rondeaux from Duphly's first book. In 1764 Walsh brought out an edition of his second book; in 1765 the 20-year-old Richard Fitzwilliam was studying with him. That year Pascal Taskin, the harpsichord maker, reckoned 'Dufly' among the best teachers in Paris, along with Armand-Louis Couperin, Balbastre and Le Grand. The article on fingering in Rousseau's Dictionnaire (1768) contains rules which the author presents 'with confidence, because I have them from M Duphli, excellent harpsichord teacher who possesses above all perfection in fingering' (though either Duphly or Rousseau overlooked the fact that these 'rules' were lifted word for word from Rameau's, in his Pieces de clavecin of 1724). The titles and dedications of Duphly pieces show him to have been a part of the inner circle of professional and aristocratic connoisseurs; yet he seems to have been unambitious and content with a simple and modest life of teaching and playing.

Rousseau asked him to contribute to his dictionary, for articles relating to the art of playing the harpsichord.

Evaluation[link]

D'Aquin wrote that 'in general his pieces are sweet and amiable: they take after their father'. Although this represents a curious judgment of his music, which is often flashy and energetic, it may reflect a nature that allowed him to drift gently from view to a point of obscurity where it became necessary to inquire in the Journal general de la France (27 November 1788) 'what has become of M Duphlis, former harpsichord teacher in Paris, where he was in 1767. If he no longer exists, one would like to know his heirs, to whom there is something to communicate.

He apparently never married, and when he died, no heirs appeared; even his sister could not be located. He died on July 15, 1789, the day after the storming of the Bastille, in an apartment in the Hôtel de Juigné, lonely, forgotten, with his library - and without a harpsichord. The mystery could possibly be clarified by this fact: in 1785, Antoine de Sartine, ex-chief of Police, and ex-minister of the Navy, lived at the same address.

Duphly left his possessions to his servant, who was with him for 30 years. But his will and the inventory of his effects show that he had been living in modest comfort in his small apartment. His dedication of his last pieces to the Marchioness of Juigne, 21 years before, did not exempt him from paying 300 livres a year for rent.

Dagincourt may have been Duphly's teacher, but Rameau's harpsichord music served as Duphly's chief model. Rameau's shadow falls on themes (the courante La Boucon in book 1 begins like Rameau's E minor courante, transformed in metre) and on whole pieces (Les colombes in book 2 -- which D'Aquin must have meant when he said of Duphly's music: 'On connait les tourterelles, qui affectent le coeur' -- is almost a condensed paraphrase of La timide from Rameau's Pieces de clavecin en concerts, 1741). Scarlatti's fast 3/8 sonatas have their echo in La De Caze (book 2) and La De la Tour (book 3), and Dagincourt (or Couperin, whom Dagincourt imitated) can be felt in a rondeau in C (book 1) and La De Brissac (book 2), among other pieces.

Book 3 mixes solos and two sonata-like groups with violin accompaniment; the latter are singularly unimaginative in their use of the violin, which seems to have been more a hindrance than a resource. Two solo groups in F minor and D are excellent, however. The first consists of a sombre rondeau in bass-viol range called La Forqueray after the late virtuoso of that instrument, a brilliant chaconne of 285 bars, and a savage tirade entitled Medée and marked 'vivement et fort'. In the 12 years between books 3 and 4 fashion passed Duphly by: book 4 contains but six half-hearted essays in Alberti-bass style.

Only fifty-two works by Duphly are known, most of which were published during his lifetime in the four volumes of harpsichord music mentioned above. The titles of the work refer to well-known protectors of art (e.g. La Victoire, la de Sartine) or other composers (e.g. La Forqueray). His late music contains elements typical of the early classical movement - e.g. the use of Alberti bass, quite dissimilar to Jean-Philippe Rameau or François Couperin.

See also[link]

• French baroque harpsichordists

References[link]

• David Fuller. "Jacques Duphly", Grove Music Online, ed. L. Macy (accessed August 4, 2005), grovemusic.com (subscription access).
• Sleeve notes of vinyl record "Le Clavecin Français" par Pauline Aubert, Vogue MC 20123
• Françoise Petit: ‘Sur l’œuvre de Jacques Duphly’, Courrier musical de France, 23 (1968), pp. 188–90
• On the address of M. de Sartine: A. de Maurepas et A. Boulant"Les ministres et les ministères du siècle des Lumières", page 249

External links[link]

• Pièces pour clavecin Complete scores (Book I, II, III and IV) freely downloadable (modern edition), Discography.
• Free scores by Jacques Duphly at the International Music Score Library Project

André Campra

André Campra (Aix-en-Provence, (baptized) 4 December 1660 – 29 June 1744 in Versailles) was a French composer and conductor.

Campra was one of the leading French opera composers in the period between Jean-Baptiste Lully and Jean-Philippe Rameau. He wrote several tragédies en musique, but his chief claim to fame is as the creator of a new genre, opéra-ballet. He also wrote three books of cantatas as well as religious music, including a requiem. ^[1][2]

Biography[link]

Campra was the son of Jean-François Campra, a surgeon and violinist from Graglia, in Italy, and of Louise Fabry, from Aix-en-Provence. Campra's father was his first music teacher. Campra became a choirboy at Saint-Sauveur in Aix in 1674, and commenced ecclesiastical studies four years later. He was reprimanded by his superiors in 1681 for having taken part in theatrical performances without permission, but was nevertheless made a chaplain on 27 May that year.

From 1694 to 1700, he was maître de musique (music director) at the cathedral of Notre-Dame de Paris, after having served in a similar capacity in Arles and Toulouse. Campra controversially brought violins into the making of sacred music at Notre-Dame de Paris which at the time was seen as very avant-garde due to their reputation as 'street instruments'.^[3]

He began to turn toward the theatre in 1697 and published some theatrical compositions under his brother's name to protect his reputation within the church.^[3] In 1700 he gave up his post at Notre-Dame and concentrated on his theatrical music to critical success. By 1705 he was a musical celebrity but this resulted in him becoming a target for negative articles in the press.^[4] From 1720 onwards, he returned to the composition of sacred music. Although Campra had obtained critical success he did not have financial security and hence in 1722 he was engaged by the prince of Conti as maître de musique although this appointment was short lived.^[4] After the death of the regent, Campra became sous-maître at the Royal Chapel in Versailles in 1723. In 1730 he became the Inspecteur Général at the Opéra (Royal Academy of Music).

He died at the age of 83.

With his composition of L'Europe galante he was the true genius of the opéra-ballet, a musical genre originated by Pascal Colasse (in his Ballet des saisons).He also wrote the Rigaudon.

Principal works[link]

Operas[link]

• L'Europe galante, opéra-ballet (1697)
• Le carnaval de Venise, opéra-ballet (1699)
• Hésione, tragédie en musique (1700)
• Aréthuse, opéra-ballet (1701)
• Tancrède, tragédie en musique (1702)
• Les muses, opéra-ballet (1703)
• Iphigénie en Tauride, tragédie en musique (1704)
• Télémaque, tragédie en musique pastiche (1704)
• Alcine, tragédie en musique (1705)
• Hippodamie, tragédie en musique (1708)
• Les fêtes vénitiennes, opéra-ballet (1710)
• Idoménée, tragédie en musique (1712)
• Télèphe, tragédie en musique (1713)
• Énée et Didon, fête musicale (1714)
• Camille, reine des Volsques, tragédie en musique (1717)
• Les âges, opéra-ballet (1718)
• Achille et Déidamie, tragédie en musique (1735)

Cantatas[link]

• Book I 1708 - Hebe. L'Heureux jaloux. Didon. Daphne. Arion. Les femmes.
• Book II 1714 - Les Heureux Epoux, Silène, Achille oisif, La Dispute de l'Amour,
• Book III 1728 - Enée et Didon ^[5]

Sacred works[link]

• Nisi Dominus (1722)
• Requiem (after 1723)
• Motets for the royal chapel (1723-1741)

Legacy[link]

A theme from his 1717 opera Camille was used as the basis of the collaborative work La guirlande de Campra by seven French composers, written in 1952.

A state-owned secondary school in the centre of Aix-en-Provence, is named after André Campra, Collège Campra. There is a statue of Campra inside one of the buildings.

References[link]

1. ^ Viking p.180
2. ^ Grove
3. ^ ^{a b} BBC Radio 3: 7 December 2010.
4. ^ ^{a b} BBC Radio 3: 8 December 2010.
5. ^ James R. Anthony La musique en France à l'époque baroque: de Beaujoyeulx à Rameau 1981 "Enée et Didon (Livre III), qui est pratiquement une cantate-opéra, mettant en scène deux protagonistes, ... Dans les cantates plus tardives de Campra, l'usage systématique de tous les procédés lyriques se conjugue avec une utilisation ..."

Sources[link]

• Anthony, James R. "Campra, André". Grove Music Online (subscription access).
• BBC Radio 3. "Composer of the Week: André Campra 1660-1744", Episode 2, BBC: Broadcast 7 December 2010
• BBC Radio 3. "Composer of the Week: André Campra 1660-1744", Episode 3, BBC: Broadcast 8 December 2010
• Viking Opera Guide ed. Holden (Viking, 1993)

External links[link]

Wikimedia Commons has media related to: André Campra

• Free scores by André Campra at the International Music Score Library Project
• Free scores by André Campra in the Werner Icking Music Archive (WIMA)
• Free scores by André Campra in the Choral Public Domain Library (ChoralWiki)

The Treaty of Lancaster was a treaty concluded between the Six Nations (Iroquois) and the colonies of Virginia and Maryland. Deliberations began at Lancaster, Pennsylvania on June 28, and ended on July 4, 1744.

The negotiations were conducted in the old courthouse, which stood in the center of Lancaster at the time. The Soldiers and Sailors Monument, built in 1874 to commemorate the U.S. Civil War, now stands on the exact site of the Treaty in Penn Square.^[1]

Lt. Governor Alexander Spotswood had arranged the Treaty of Albany with the Six Nations in 1722.^[2] It renewed the Covenant Chain and agreed to recognize the Blue Ridge Mountains as the demarcation between the Virginia Colony and the Iroquois. At the same time, it was an attempt to make peace between the Iroquois and the southern Catawba.

Colonial governments were unable to prevent white settlers from moving beyond the Blue Ridge and into the Shenandoah Valley in the 1730s. When the Iroquois objected, they were told that the agreed demarcation was to prevent their trespassing east of the Blue Ridge, but not to prevent the English from expanding west of them. In 1743 the Iroquois skirmished with some Valley settlers. The Iroquois were on the verge of declaring total war on the Virginia Colony when Governor Gooch paid them the sum of 100 pounds sterling for any settled land in the Valley which they claimed. The following year at the Treaty of Lancaster, the Iroquois sold all their remaining claim to the Shenandoah Valley for 200 pounds in gold.^[3]

Even so, a difference in interpretation remained. The Virginians believed that the Iroquois had relinquished to the Crown any claim they had on all the lands within the 1609 Chartered boundaries of Virginia. They considered these to extend to the Pacific, or at least up to the Ohio River. The Iroquois understood that they had ceded only their lands up to the Ohio watershed; in other words, only the Shenandoah Valley east of the Allegheny Mountains.

This difference was partly resolved at the 1752 Treaty of Logstown, where the Iroquois recognised English rights southeast of the Ohio.^[4] Nevertheless, the Cherokee, Shawnee and other nations continued to claim by possession large portions of the area beyond the Allegheny. The Royal Proclamation of 1763 recognized this territory as Indian land.

By the Treaty of Fort Stanwix in 1768, the Iroquois finally sold all their remaining claims between the Ohio and Tennessee Rivers. The Shawnee relinquished their claim on the area only following their defeat in Dunmore's War in 1774. About the same time, the Cherokee also began ceding their claims to this region (encompassing most of present-day Kentucky and part of West Virginia.)

Participants[link]

• For Governor of Pennsylvania Colony (called "Brother Onas" by the Iroquois):

Lt. Governor George Thomas

• For Governor of Virginia Colony (called "Brother Assaragoa" by the Iroquois):

Thomas Lee,

William Beverly, Commissioners

• For Governor of Maryland Colony (who received the name "Brother Tocarry-hogan" at this treaty):

Edmund Jennings,

Philip Thomas,

Robert King,

Thomas Colville, Commissioners

• Six Nations deputies speaking at this Treaty:

Canassatego, Tachanoontia, Gachradodow

• English-Iroquois interpreter: Conrad Weiser (called Tacharawagon by the Iroquois)

References[link]

External links[link]

• Text of the treaty (Last day proceedings)
• Complete proceedings, University of Nebraska-Lincoln