The Comte de Saint Germain (French pronunciation: [kɔ̃t də sɛ̃ ʒɛʁmɛ̃]; c. 1691 or 1712 – 27 February 1784)[3] was a European adventurer, with an interest in science, alchemy and the arts. He achieved prominence in European high society of the mid-18th century. Prince Charles of Hesse-Kassel considered him to be "one of the greatest philosophers who ever lived".[4] St. Germain used a variety of names and titles, an accepted practice amongst royalty and nobility at the time. These include the Marquis de Montferrat, Comte Bellamarre, Chevalier Schoening, Count Weldon, Comte Soltikoff, Manuel Doria, Graf Tzarogy, and Prinz Ragoczy.[5] To deflect enquiries as to his origins, he would make far-fetched claims, such as being 500 years old,[6] leading Voltaire to sarcastically dub him "The Wonderman" and that "He is a man who does not die, and who knows everything".[7][8]
An engraving of the Count of St. Germain by Nicolas Thomas made in 1783, after a painting then owned by the Marquise d'Urfe and now lost.
[1] Contained at the Louvre in France.
[2]His real name is unknown while his birth and background are obscure, but towards the end of his life, he claimed that he was a son of Prince Francis II Rákóczi of Transylvania. His name has occasionally caused him to be confused with Claude Louis, Comte de Saint-Germain, a noted French general.
count's remaining effects in case no living relative would appear within a designated time period to lay claim on them.[28] Prince Charles donated the factory to the crown and it was afterward converted into a hospital.
Jean Overton Fuller found, during her research, that the count's estate upon his death was a packet of paid and receipted bills and quittances, 82 Reichsthalers and 13 shillings (cash), 29 various groups of items of clothing (this includes gloves, stockings, trousers, shirts, etc.), 14 linen shirts, eight other groups of linen items, and various sundries (razors, buckles, toothbrushes, sunglasses, combs, etc.). No diamonds, jewels, gold, or any other riches were listed, nor were kept cultural items from travels, personal items (like his violin), or any notes of correspondence.
Trio SonatasEdit
Six sonatas for two violins with a bass for harpsichord or violoncello:
Op. 47 I. F major, 4/4, Molto adagioOp. 48 II. B-flat major, 4/4, AllegroOp. 49 III. E-flat major, 4/4, AdagioOp. 50 IV. G minor, 4/4, Tempo giustoOp. 51 V. G major, 4/4, ModeratoOp. 52 VI. A major, 3/4, Cantabile lentoViolin solosEdit
Seven solos for solo violin:
Op. 53 I. B-flat major, 4/4, LargoOp. 54 II. E major, 4/4, AdagioOp. 55 III. C minor, 4/4, AdagioOp. 56 IV. E-flat major, 4/4, AdagioOp. 57 V. E-flat major, 4/4, AdagioOp. 58 VI. A major, 4/4, AdagioOp. 59 VII. B-flat major, 4/4, AdagioEnglish songsEditOp. 4 The Maid That's Made for Love and Me (O Wouldst Thou Know What Sacred Charms). E-flat major (marked B-flat major), 3/4Op. 5 It Is Not that I Love You Less. F major, 3/4Op. 6 Gentle Love, This Hour Befriend Me. D major, 4/4Op. 7 Jove, When He Saw My Fanny's Face. D major, 3/4Italian ariasEdit
Numbered in order of their appearance in the Musique Raisonnee, with their page numbers in that volume.[31]
The best-known biography is Isabel Cooper-Oakley's The Count of St. Germain (1912), which gives a satisfactory biographical sketch. It is a compilation of letters, diaries, and private records written about the count by members of the French aristocracy who knew him in the 18th century. Another interesting biographical sketch can be found in The History of Magic, by Eliphas Levi, originally published in 1913.
* An asterisk marks titles performed in L'Incostanza Delusa and published in the book of Favourite Songs from that opera.Op. 1 IV, pp. 16–20. Senza pietà mi credi,* G major, 6/8 (marked 3/8 but there are 6 quavers to the bar)Op. 2 VIII, pp. 36–39. Digli, digli,* D major, 3/4Op. 3 IX, pp. 40–45. Per pieta bel Idol mio,* F major, 3/8Op. 4/17 XIII, pp. 58–61. Se mai riviene, D minor, 3/4Op. 8 I, pp. 1–5. Padre perdona, oh! pene, G minor, 4/4Op. 9 II, pp. 6–10. Non piangete amarti, E major, 4/4Op. 10 III, pp. 11–15. Intendo il tuo, F major, 4/4Op. 11 V, pp. 21–26. Già, già che moria deggio, D major, 4/4Op. 12 VI, pp. 27–31. Dille che l'amor mio,* E major, 4/4Op. 13 VII, pp. 32–35. Mio ben ricordati, D major, 3/4Op. 14 X, pp. 46–50. Non so, quel dolce moto, B♭ major, 4/4Op. 15 XI, pp. 51–55. Piango, è ver; ma non-procede, G minor, 4/4Op. 16 XII, pp. 56–57. Dal labbro che t'accende, E major, 3/4Op. 18 XIV, pp. 62–63. Parlerò; non-e permesso, E major, 4/4Op. 19 XV, pp. 64–65. Se tutti i miei pensieri, A major, 4/4Op. 20 XVI, pp. 66–67. Guadarlo, guaralo in volto, E major, 3/4Op. 21 XVII, pp. 68–69. Oh Dio mancarmi, D major, 4/4Op. 22 XVIII, pp. 70–71. Digli che son fedele, E♭ major, 3/4Op. 23 XIX, pp. 72–73. Pensa che sei cruda, E minor, 4/4Op. 24 XX, pp. 74–75. Torna torna innocente, G major, 3/8Op. 25 XXI, pp. 76–77. Un certo non-so che veggo, E major, 4/4Op. 26 XXII, pp. 78–79. Guardami, guardami prima in volto, D major, 4/4Op. 27 XXIII, pp. 80–81. Parto, se vuoi così, E♭ major, 4/4Op. 28 XXIV, pp. 82–83. Volga al Ciel se ti, D minor, 3/4Op. 29 XXV, pp. 84–85. Guarda se in questa volta, F major, 4/4Op. 30 XXVI, pp. 86–87. Quanto mai felice, D major, 3/4Op. 31 XXVII, pp. 88–89. Ah che neldi'sti, D major, 4/4Op. 32, XXVIII, pp. 90–91. Dopp'un tuo Sguardo, F major, 3/4Op. 33 XXIX, pp. 92–93. Serberò fra' Ceppi, G major, 4/4Op. 34 XXX, pp. 94–95. Figlio se più non-vivi moro, F major, 4/4Op. 35 XXXI, pp. 96–98. Non ti respondo, C major, 3/4Op. 36 XXXII, pp. 99–101. Povero cor perché palpito, G major, 3/4Op. 37 XXXIII, pp. 102–105. Non v'è più barbaro, C minor, 3/8Op. 38 XXXIV, pp. 106–108. Se de' tuoi lumi al fuoco amor, E major, 4/4Op. 39 XXXV, pp. 109–111. Se tutto tosto me sdegno, E major, 4/4Op. 40 XXXVI, pp. 112–115. Ai negli occhi un tel incanto, D major, 4/4 (marked 2/4 but there are 4 crotchets to the bar)Op. 41 XXXVII, pp. 116–118. Come poteste de Dio, F major,
