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from 1797, she shifted her energy more and more to teaching. In 1808, she founded her own music school in Vienna, where she taught singing, piano and theory to young girls. A Sunday concert series at this school featured the work of her outstanding pupils. She continued to teach up until her death in
565:
Video documentation, script, musical sketches and performance history, available in the
Claudia Stevens papers, Special Collections, Earl Gregg Swem Library, College of William and Mary. A musically self-accompanied solo play in two acts, text and music by Claudia Stevens, concerns Maria Theresia's
157:, who was able to improve on her blindness temporarily until she was removed from his care, amid concerns on the one hand of possible scandal, on the other hand at the potential loss of her disability pension. In any case, on her departure from Dr. Mesmer the blindness came back permanently.
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as a ‘glorious concerto’ and said it had been written for Maria
Theresia von Paradis ‘for Paris.’ His description suggests that neither he nor Nannerl knew it already; if this is so, it must have been a later one than K.453, which seems to have been the newest they had in
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for it remarked: "...one must have heard her to form an idea of the touch, the precision, the fluency and vividness of her playing." In all she made a total of 14 appearances in Paris, to excellent reviews and acclaim. She also assisted in helping
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During her tour of Europe, Paradis began composing solo music for piano as well as pieces for voice and keyboard. The earliest music attributed to her is often cited as a set of four piano sonatas from about 1777, but these are really by
599:
Paradis's claim that she was molested by Mozart during a lesson. This claim, in the film's context, is ultimately portrayed as a ruse by
Salieri to hinder Mozart's appointment to a court position as teacher to the Emperor's young niece.
333:. Her songs are mostly representative of the operatic style, which displays coloratura and trills. Salieri's influence may be seen in the dramatically composed scenes. Much of the stage work is modeled on the Viennese
131:
By all accounts, Paradis had an excellent memory and exceptionally accurate hearing, as she was widely reported to have learned over sixty concertos by heart, as well as a large repertoire of solo and religious works.
860:
Gordy, Laura Ann. "Women
Creating Music, 1750-1850: Marianne Martinez, Maria Theresia von Paradis, Fanny Mendelssohn Hensel, and Clara Wieck Schumann." D.M.A. thesis, University of Alabama, 1987.
269:
and later accompanied the Prince of Wales, a cellist. However, her concerts were less well received and attended in
England than in Paris. She continued to tour in Western Europe (including
176:
who invented a composition board for her. In August of that year they visited the
Mozarts in Salzburg, though Nannerl's diary seems to place this meeting in September. She played in
317:
By the year 1789, Paradis was spending more time with composition than performance, as shown by the fact that from 1789 to 1797 she composed five operas and three
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206:(HXVIII: 4), which may have premiered in Paris also in 1784, but it appears to have been composed in the 1770s, and the original manuscript is now lost.
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82:, for whom she was named. The Empress, however, was not her godmother, as was often believed. Between the ages of 2 and 5 she lost her eyesight.
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Matsushita, Hidemi. "The
Musical Career and Compositions of Maria Theresia von Paradis." Ph.D. dissertation, Brigham Young University, 1989.
525:
78:
Maria
Theresia von Paradis was the daughter of Joseph Anton von Paradis, Imperial Secretary of Commerce and Court Councilor to the Empress
50:(May 15, 1759 – February 1, 1824) was an Austrian musician and composer who lost her sight at an early age, and for whom her close friend
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221:. While K.456 is believed to be the concerto intended for Paradis, there are continuing doubts concerning this. Ruth Halliwell comments:
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When composing, she used a composition board invented by
Riedinger, and for correspondence the hand-printing machine invented by
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by
Barbara Albert, a participant in the 2018 Cleveland International Film Festival, more info at mademoiselle-paradis.com
255:
359:. The piece is based on the Larghetto movement from Carl Maria von Weber's Violin Sonata in F major, Op. 10, No.1.
306:, to whom much of her music is often mistakenly attributed. Her earliest major work in existence is the collection
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199:("the father and apostle of the blind") establish the first school for the blind, which opened in 1785.
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and Russia, but nothing came of these. She returned to Prague in 1797 for the production of her opera
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169:. In 1783, she set out on an extended tour towards Paris and London, accompanied by her mother and
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184:. Paradis finally reached Paris in March 1784. Her first concert there was given in April at the
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Paradis traveled to Westminster in late 1784 and performed over the next few months at court,
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285:, ended up back in Vienna in 1786. Further plans were made for her to give concerts in the
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382:, December 5, 1792, pt of Act 2 and all of Act 3 (Overture: ClarNan Editions; rest lost)
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500:, a collection of short stories by Julian Barnes. New York: Alfred A. Knopf, 2011.
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544:, "Franz Anton Mesmer ou L'extase Magnétique" . Paris, Robert Laffont 1988.
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Various songs and lieder totaling at least 18 works, of which two are lost.
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Paradis was treated from late 1776 until the middle of 1777 by the famous
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Linz: Verlag des oberoesterreichischen Privat-Blinden- Institutes, 1876.
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Paradis is mentioned in a scene during which Antonio Salieri reports to
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Verlag von A. Pichlers Witwe und Sohn, Wien, Leipzig, 1900, S. 576-578.
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Girls Who Rocked the World: Heroines from Joan of Arc to Mother Teresa.
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for violin and piano is a musical hoax by a 20th Century violinist
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style, while her piano works show a great influence by her teacher
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By 1775, Paradis was performing as a singer and pianist in various
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63:
38:
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Mesmer and Animal Magnetism: A Chapter in the History of Medicine
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New York: The Feminist Press at the City University of New York.
309:
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Borroff, Edith. "Women Composers: Reminiscence and History."
658:. Hamilton, NY: Edmonston Publishing, Inc. pp. 57–63.
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She received a broad education in the musical arts from:
855:
Maria Theresia Paradis - Mozarts berühmte Zeitgenossin.
717:
Sicilienne in E-flat major (Paradis, Maria Theresia von
351:
The most famous composition ascribed to Paradis, the
778:
https://www.carolkmack.com/without_a_trace_21393.htm
865:The Mozart Family: Four Lives in a Social Context.
950:Free digital scores by Maria Theresia von Paradis
819:200 Jahre Blindenbildung im deutschen Sprachraum.
697:The Mozart Family: Four Lives in a Social Context
922:(2. Auflage) Grove Dictionaries, New York, 2000.
920:The New Grove Dictionary of Music and Musicians.
143:which survives but without its second movement.
926:Schleifer, Martha Furman, and Sylvia Glickman.
880:Maxwell, Andrea. "Maria Theresia von Paradis."
223:
930:Score Anthology. New York: G. K. Hall, 1996–.
58:in B-flat major. She was also in contact with
8:
423:Kantate auf die Wiedergenesung meines Vaters
417:Deutsches Monument Ludwigs des Unglücklichen
901:Nicholas, Jeremy. "The Forgotten Artists."
896:Encyklopädisches Handbuch des Blindenwesens
887:McCann, Michelle Roehm, and Amelie Welden.
225:It is not certain which concerto this was.
135:In 1773 she was commissioned to perform an
672:(Anchor Press/Doubleday 1978), pages 54–58
27:Austrian musician and composer (1759–1824)
944:International Music Score Library Project
940:Free scores by Maria Theresia von Paradis
872:Women Composer: The Lost Tradition Found.
805:Antonio Salieri. Dokumente seines Lebens.
794:Das Wiener Lied von 1778 bis Mozarts Tod.
474:International Music Score Library Project
470:Free scores by Maria Theresia von Paradis
928:Women Composers: Music through the Ages.
743:"A gentle rebuke of artistic fraudsters"
847:2007/2008, (Kassel: Bärenreiter, 2011)
826:Maria Theresia von Paradis' Biographie.
643:
574:Carol K. Mack. "Without a Trace" 1997.
202:Paradis performed a piano concerto by
994:19th-century Austrian women composers
456:An meine entfernten Lieben, pf (lost)
411:Trauerkantate auf den Tod Leopolds II
7:
798:Denkmäler der Tonkunst in Österreich
649:
647:
910:Doctor Mesmer: An Historical Study.
884:1, no. 2 (Fall-Winter 1979): 54-57.
518:The Strange Case of Mademoiselle P.
979:Composers from the Austrian Empire
870:Jezic, Diane, and Elizabeth Wood.
817:Bundes-Blindenerziehungsinstitut.
767:William and Mary Libraries website
314:, composed between 1784 and 1786.
25:
792:Adler, Guido, and Karl Friberth.
376:, melodrama, June 20, 1791 (lost)
321:. After the failure of the opera
258:, among other places. She played
209:Also in 1784 Paradis performed a
165:Paradis did not stay confined to
538:. London: MacLehose Press, 2012.
510:. New York, Pegasus Books, 2011.
312:auf ihrer Reise in Musik gesetzt
1004:18th-century Austrian composers
741:John Montanari (May 15, 2012).
438:Pianoforte Concerto in C (lost)
435:Pianoforte Concerto in G (lost)
127:(music theory and composition).
867:Clarendon Press, Oxford, 1998.
807:3 Bde. Bock, Bad Honnef, 2002.
685:, April 24, 1784, pp. 504–505.
386:Rinaldo und Alcina, Zauberoper
180:and other German cities, then
1:
570:, and blindness as metaphor.
441:12 Piano Sonatas, 1792 (lost)
277:), and after passing through
989:18th-century women composers
984:19th-century women musicians
444:Pianoforte Trio, 1800 (lost)
297:Compositions and later life
256:Hanover Square, Westminster
43:Portrait drawing of Paradis
1020:
905:#16 (Nov-Dec 2012): 36-39.
610:Image Entertainment, 2000.
453:Keyboard Variations (lost)
353:Sicilienne in E-flat major
48:Maria Theresia von Paradis
29:
999:Blind classical musicians
670:The Myth of Psychotherapy
275:Carl Philipp Emanuel Bach
121:(singing and composition)
30:For the mountaineer, see
912:London: Westhouse, 1947.
891:New York: Aladdin, 2012.
520:. Vintage, London 1992,
486:Novels and short stories
304:Pietro Domenico Paradisi
954:OpenScore Lieder Corpus
824:Frankl, Ludwig August.
812:College Music Symposium
508:The Pianist in the Dark
450:Fantasie in C, pf, 1811
447:Fantasie in G, pf, 1807
392:Große militärische Oper
246:(the town house of the
229:simply described it to
849:Archived review online
833:Maria Theresia Paradis
803:Angermüller, Rudolph.
654:Pattie, Frank (1994).
591:Warner Brothers, 2002.
388:, June 30, 1797 (lost)
240:
44:
18:Maria Theresia Paradis
835:, Köln: Böhlau 2005 (
331:Wolfgang von Kempelen
252:Professional Concerts
150:salons and concerts.
56:Piano Concerto No. 18
54:may have written his
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614:Mademoiselle Paradis
605:Spottiswoode, Roger.
504:Halberstadt, Michèle
398:Zwei ländliche Opern
188:; the review in the
903:International Piano
857:Böhlau, Köln, 2005.
632:Mélanie de Salignac
627:Charlotta Seuerling
481:Cultural references
374:Ariadne und Bacchus
430:Instrumental works
323:Rinaldo und Alcina
291:Rinaldo und Alcina
155:Franz Anton Mesmer
45:
908:Purtscher, Nora.
894:Mell, Alexander.
863:Halliwell, Ruth.
821:Wien 2004, S. 56.
814:15 (1975): 26-33.
796:Score Anthology.
597:Emperor Joseph II
380:Der Schulkandidat
186:Concert Spirituel
16:(Redirected from
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514:O'Doherty, Brian
339:Leopold Kozeluch
191:Journal de Paris
174:Johann Riedinger
113:Vincenzo Righini
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101:music theory
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974:1824 deaths
969:1759 births
752:January 19,
394:1805 (lost)
368:Stage works
182:Switzerland
125:Abbé Vogler
93: [
963:Categories
638:References
536:Mesmerized
346:Sicilienne
267:George III
213:(probably
171:librettist
74:Early life
800:54, 1960.
335:Singspiel
178:Frankfurt
115:(singing)
621:See also
405:Cantatas
319:cantatas
236:Salzburg
148:Viennese
952:in the
946:(IMSLP)
942:at the
608:Mesmer.
589:Amadeus
587:, dir.
476:(IMSLP)
472:at the
271:Hamburg
231:Nannerl
227:Leopold
109:(piano)
60:Salieri
839:
702:
568:Mesmer
524:
464:Scores
425:(lost)
419:, 1793
400:(lost)
326:1824.
310:Lieder
308:Zwölf
283:Prague
279:Berlin
263:fugues
260:Handel
219:Mozart
167:Vienna
66:, and
52:Mozart
918:, ed.
722:IMSLP
579:Films
561:1994.
549:Plays
497:Pulse
217:) by
97:]
68:Gluck
64:Haydn
837:ISBN
754:2023
729:2019
700:ISBN
522:ISBN
281:and
843:),
265:to
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139:by
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