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145:, a mathematics and language prodigy who lectured and debated all over Europe while her sister performed. Maria Teresa was married to Pier Antonio Pinottini on 13 June 1752, and they settled in a district populated by intellects and artists, but eventually suffered severe financial ruin. Pinottini died not too long afterwards.
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Today her music is seldom performed. Her keyboard music, while often technically challenging, is said to have been somewhat hackneyed and not distinctive. Her work does seem to have matured throughout her career; her early works are simple and clean, while her later works are more virtuosic, complex,
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Maria Teresa had several famous performances, perhaps the most famous on 16 July 1739, when famous French traveller
Charles de Brosses was very impressed by her music. He was not the only one; Count Gerolamo Riccati wrote several letters praising her compositions and musical talent. Another very
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Not much is known about Maria Teresa. Nothing is known of her education or teachers, and the dates of her compositions are largely unknown. Many of her compositions have been lost, although there are records of their existence. Her career was made possible by the
Austrian Lombardy, which proved
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progressive and enlightened in women's rights. The movement was more prevalent in Vienna and
Dresden rather than in her hometown of Milan, and Maria Teresa found more success and more appreciative audiences in these cities than in her birthplace.
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Carrer, Pinuccia and
Petrucci, Barbara, “Donna Teresa Agnesi compositrice illustre (1720-1795)” (in Italian), edizioni San Marco dei Giustiniani, Genova 2010
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to Pietro Agnesi, an overbearing man in the lesser nobility. He provided early education for both Maria Teresa and her more famous older sister,
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Lost: conc., Eâ, hpd, cited in 1766 Breitkopf catalogue; sonata, G, kbd, cited in 1767—Breitkopf catalogue; Airs divers
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Allemande militare & Menuetto grazioso, kbd (with special stops), ed. F. Brodszky, -Thesaurus
Musicus, xvii (1962)
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Glickman, Sylvia and Martha Furman, ed. Women
Composers: Music Through the Ages. NY: GK Hall and Co., 1998
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and singer, and the majority of her surviving compositions were written for keyboard, the voice, or both.
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in 1747 where she dedicated her piece to various rulers of the surrounding areas of Saxony and
Austria.
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Tick, Judith, “Women in Music: Western
Classical Traditions in Europe and the USA”, Grove Music Online.
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4 concertos (F, F, F, D) (str pts missing in A-Wn, D-Dl), 1 cited in 1766 Breitkopf catalogue
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composer. Though she was most famous for her compositions, she was also an accomplished
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Hansell, Sven and
Kendrick, Robert L., “Agnesi, Maria Teresa”, Grove Music Online.
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http://www.grovemusic.com/shared/views/article.html?section=music52554.2.3
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http://www.grovemusic.com/shared/views/article.html?section=opera.9000555
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http://www.grovemusic.com/shared/views/article.html?section=music.0029
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Hansell, Sven, “Agnesi-Pinottini, Maria Teresa”, Grove Music Online.
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famous performance was her theatrical debut, the
Cantata Pastorale
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Hofkomponistinnen in Europa: Aus Boudoir und Gärten, Vol. 2
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Sonata, G, cited in 1767 Breitkopf catalogue (1998)
108:[maˈriːateˈrɛːzaaɲˈɲeːzipinotˈtiːni,-ɲɛːz-]
48:but its sources remain unclear because it lacks
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354:Free scores by Maria Teresa Agnesi Pinottini
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121:; 17 October 1720 – 19 January 1795) was an
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224:(dramma serio, 3, ? Agnesi), Milan,
79:Learn how and when to remove this message
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234:(dramma serio, 3, P. Metastasio), 1755?
206:(cant. pastorale, G. Riviera), Milan,
251:Keyboard, small ensemble, vocal music
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63:more precise citations.
204:II Restauro di Arcadia
104:Italian pronunciation:
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314:oxfordmusiconline.com
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61:introducing
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