Maria Theresa of Paradis

Maria Theresia Paradis, 1784.

Maria Theresia Paradis , often called by Paradis despite her bourgeois origin (born May 15, 1759 in Vienna , † February 1, 1824 in Vienna), was an Austrian pianist , singer (soprano), composer and music teacher . She has been blind from early childhood. She was very prominent in Viennese musical life and known to many important representatives of Viennese classical music such as Joseph Haydn and Wolfgang Amadeus Mozart . On a European tour from 1783 to 1786 she played in front of numerous high-ranking personalities, including the French royal couple Louis XVI. and Marie Antoinette and the English King George III. and his wife Charlotte . Valentin Haüy was so fascinated by her at a concert in 1784 that he began to campaign for the education of the blind.

Life

Maria Theresia Paradis was one of the daughters of the Viennese court official Joseph Anton Paradis and his wife Maria Rosalia. It was named after her sister Maria Theresia Clotildis (June 3, 1758 - March 17, 1759) who died before she was born. In addition to the twin sisters Josepha and Elisabeth, she had a few other sisters and brothers. Her grandfather Claudius was a valet and then “Countess Esterházy'scher Regent”, her uncle Leopold was a dancer who “went to Paris in 1753 to 'learn to dance better there' and in 1776 took over the ballet school of the Moscow orphanage”. When Maria Theresia Paradis was around three years old, she went blind. In addition to a good general education, she received music lessons from Viennese music greats such as Leopold Koželuh ( piano ), Vincenzo Righini , Abbé Georg Joseph Vogler ( vocals ) and Antonio Salieri ( harmony ), who was also part of the family's circle of friends for a long time.

Contrary to widespread claims going back to Franz Gräffer , “the Paradis” was not a godchild of Empress Maria Theresa , but received financial support, a so-called grace pension, from the empress's personal purse, which was later deleted by Joseph II . Since 1775 she was very prominent as a pianist in Vienna and gave numerous concerts.

Organ with original case from 1730 in the Augustinian Church in Vienna

In Vienna as well as on her major European tour, she performed many works by her main teacher Koželuh as well as piano concertos by Joseph Haydn (there is evidence of a concert in G major Hob XVIII: 4) and, more rarely, by Wolfgang Amadeus Mozart . In a letter dated February 16, 1785, Leopold Mozart wrote to his daughter Maria Anna about a new piano concerto that his son had "made for the Paradis in Paris". According to recent research, this is probably KV 456 . Salieri dedicated his 1773 Organ Concerto to her, which she most likely also performed in public. There is evidence that she played on the organ of the Augustinian Church in Vienna.

After being martyred by a multitude of treatments that were modern at the time, which were supposed to cure her blindness, she was considered incurable by the doctors recognized at the Viennese court. After that, she was a patient of the doctor Franz Anton Mesmer , who was famous in Vienna but who was hostile to him by colleagues, for a few months , after which her condition improved noticeably at times. After her parents withdrew Mesmer's treatment in June 1777, she reverted to total blindness. To what extent this blindness arose or what triggered it, is so far only speculated.

European tour

A major tour took the pianist from 1783 to 1786 to Hamburg, where she met Carl Philipp Emanuel Bach , Berlin, Switzerland, France, England, the Austrian Netherlands and Bohemia. She was accompanied by her mother Maria Rosalia and Sigmund Falgara (1752–1790, musician, at least until February 1784) and her librettist, violinist and later partner Johann Riedinger (presumably from autumn 1785), who invented braille notation because of her. Almost all concert descriptions from this time are similar:

“The Spiritual Concert of Easter 1st granted our Parisians a rare appearance. Mlle Paradis of Vienna, completely deprived of her eyesight from the second year of age, played the Klavecin and amazed us all. This blind virtuoso was the first to tear us out of the mistaken delusion that the Klavecin could not make any particular effect in a large and extensive sale: she proved the opposite with the strength of her playing, to general applause. The young person, who is so interesting by herself as by her talents, is a student of the famous Kozeluch . "

Maria Theresia Paradis toured Europe 1783–1786

Through this concert tour Maria Theresia Paradis became known beyond the borders of Austria and particularly impressed and influenced Valentin Haüy and Johann Wilhelm Klein , the founders of the first institutes for the blind in Paris , Vienna and Berlin . For her correspondence she used a type case developed by Wolfgang von Kempelen , her former tutor, a pre-form of the blind typewriter. This laid the foundation for today's Braille by Louis Braille . Her travel stops can also be documented using the logbook that she carried with her on the trip - and thus also several personalities who have entered it. Many musicians and composers traveled through Europe during this time, but mostly only in order to learn from their employers. B. to get to Italy and back for training. Maria Theresia Paradis' journey is - similar to the Mozart's child prodigy journey of 1763 - something extraordinary. Another blind contemporary of Maria Theresia Paradis, Marianne Kirchgeßner , was on tour almost all of her life. The logistics, the partly still poorly developed road system and above all the partly bad accommodations at that time presented a particular challenge.

Important travel stations

place	date	overnight stay	Meet with	Concert venue	concert	Teammates
Vienna - departure	Aug 18, 1783
Linz	21./22. Aug 1783	unknown	unknown	Old town hall or city theater	unknown	unknown
Salzburg	25 Aug 1783	"To the star"	Mozart family , private concert	Mozart's house	unknown	Franz Grubner , traverser
Wurzburg	unknown	unknown	unknown, contacts to Würzburg families	unknown	unknown	unknown
Frankfurt am Main	unknown	unknown	Johann Franz Roethlein, emperor. Envoy	New red house on the market	Klav.-conc. by Leopold Koželuh et al	Franz Grubner, traverser
Mannheim	Oct. 1783	unknown	Gottlieb Konrad Pfeffel ; Visits to her pen pal R. Weissenburg, blind musician and inventor math. equipment	unknown	unknown	unknown
Speyer	Oct. 1783	unknown	Sophie from La Roche , several times	unknown	unknown	unknown
Kirchheimbolanden	Oct. 1783	unknown	Caroline of Orange-Nassau-Diez	Kirchheimbolanden Castle	unknown, earned 33 thalers	unknown
Koblenz	Oct. 30, 1783	unknown	Clemens Wenzeslaus of Saxony	Electoral Palace (Koblenz)	Klav.-conc. by Leopold Koželuh et al	Christian Danner (1745–1816, violinist), Franziska Sales (court singer), Clara Capuzzi (court singer), Jakob Lindpaintner (court singer)
Bonn	Beginning Nov. 1783	unknown	Maximilian Franz of Austria , Gaudenz Heller (cellist), Franz Ries (violinist, concertmaster)	Electoral Palace (Bonn)	unknown	unknown
Mannheim	unknown, departure on November 8th from Bonn	unknown	Freiherr von Wunschwitz, Johann Baptist Wendling , Dorothea Spurni , Auguste Wendling, Antonio Rosetti , Johann Georg Danner, first meeting with Johann Riedinger	unknown	unknown	unknown
Speyer	Nov 15, 1783	House of Christoph Philipp Willibald von Hohenfeld , Canon of Speyer (today Maximilianstrasse 99)	Sophie von La Roche, Gottlieb Konrad Pfeffel	unknown	unknown	unknown
Karlsruhe	Nov 18, 1783	unknown	Karl Friedrich (Baden)	Karlsruhe Palace	unknown	unknown
Stuttgart	on Nov. 22, 1783	unknown, probably only through station	unknown	unknown	unknown	unknown
Oettingen-Wallerstein	at 27./28. Nov. 1783	Oettingen Castle	Kraft Ernst von Oettingen-Wallerstein , Wilhelmine Friederike (1764–1817) von Oettingen-Wallerstein, Anton Janitsch (court violinist), Paul Winneberger (court composer, cellist), Johann Georg Feldmayr (court flutist, tenor)	Oettingen Castle	unknown, but possible	unknown
regensburg	probably Nov. 29, 1783	"Weißes Lamm" (Weisse-Lamm-Gasse / Weisse-Hahnen-Gasse 2)	unknown	Hof Thurn and Taxis (December 4th); "Goldenes Kreuz" (December 6th, Haidplatz 7)	unknown	unknown
Munich	Dec. 11, 1783 to approx. Dec. 22nd	"Golden Deer"	unknown	old residence theater Munich	unknown	unknown
augsburg	Dec. 26, 1783	"White Lamb" (today Ludwigstrasse 2)	Johann Andreas Stein , Nannette Streicher , Ignaz von Bütther	unknown	unknown	unknown
Strasbourg	on Jan. 18, 1784	unknown	Clementine and Giuseppe Caldarini (singers), Johann Philipp Schönfeld (Kapellmeister, friend of Carl Philipp Emanuel Bach ), Simon Friedrich Koberwein (1733 – after 1803, director of the German theater)	unknown	unknown	unknown
Colmar	on Jan. 24, 1784	unknown	Gottlieb Konrad Pfeffel, Jakob Sarasin-Battier , Johann Christian Lerse (1749–1800, childhood friend of Goethe)	unknown	div. piano conc.	unknown
Mulhouse	Jan. 31, 1784	unknown	unknown	unknown	unknown	unknown
Basel	Feb. 4, 1784	possibly Jakob Sarasin-Battier's “White House” or “Blue House”	Jakob Sarasin-Battier	"Praiseworthy Guild of the Bear" (February 6th)	unknown	unknown
Zurich	Feb. 8, 1784	unknown	Johann Caspar Lavater , Salomon Gessner (close friends with the Mozarts)	unknown	unknown	unknown
Bern	19.-25. Feb. 1784	unknown	unknown	unknown	unknown	unknown
Lyon	around March 14, 1784	unknown	unknown	unknown	unknown	unknown
Paris	from March 20 to October 1784	unknown	Joseph Legros , Carl Friedrich Cramer , Ludwig XVI. , Marie Antoinette , Valentin Haüy , Franz Anton Mesmer, Abbé Georg Joseph Vogler, Antonio Salieri, Carl Friedrich Abel , Johann Peter Salomon etc.	Palais des Tuileries , Versailles , Salle du Musée (rue Dauphine)	Hob XVIII: 4 (Joseph Haydn), div. Klav.-conc. by Leopold Koželuh	u .a. Marie Antoinette
London	Nov 3, 1784	"I Panton Square, off the Haymarket"	Charles Burney , George III. (United Kingdom) , Sophie Charlotte von Mecklenburg-Strelitz , Georg IV. (United Kingdom)	Hannover Square Grand Professional Concert, Pantheon, Almack's Rooms (King Street), Windsor Castle , St James's Palace	div. piano conc. by Leopold Koželuh, KV 456 (Wolfgang Amadeus Mozart, probably composed for her and specially sent to London) and Georg Friedrich Händel	Wilhelm Cramer , Benjamin Blake (1751–1827, violinist), James Cervetto (1747 / 1749–1837, cellist and composer), Giusto Ferdinando Tenducci (1735–1790, singer), Johann Christian Fischer , Elisabeth Mara etc.
Brussels	March 31, 1785	unknown	Maria Christina of Austria	unknown	unknown	unknown
Darmstadt	Aug 1, 1785	"Zur Traube" (Luisenplatz 6)	unknown	unknown	unknown	unknown
Mannheim	Aug./Sept. 1785	unknown	Gottlieb Konrad Pfeffel, R. Weissenburg	Comedy hall	Sept. 9, unknown	unknown
Frankfurt am Main	Sept 1785	Hotel zum Schwan (Goetheplatz)	New red house on the market	unknown	unknown	unknown
Aschaffenburg	Sept./Oct. 1785	unknown	unknown	unknown	unknown	unknown
Wurzburg	Sept./Oct. 1785	Heinrich von Hess	unknown	unknown	unknown	unknown
Bamberg	Sept./Oct. 1785	unknown	unknown	unknown	unknown	unknown
Coburg	Sept./Oct. 1785	unknown	unknown	unknown	unknown	unknown
Ice field	Sept./Oct. 1785	unknown	unknown	unknown	unknown	unknown
Hildburghausen	Sept./Oct. 1785	unknown	unknown	unknown	unknown	unknown
Meiningen	Oct. 1785	unknown	Luise Eleonore of Saxony-Meiningen	Great Palace (Meiningen) (October 23); Countryside House (Oct. 24)	Twelve songs (MTP) a. a.	unknown
Gotha	Oct./Nov. 1785	unknown	unknown	unknown	unknown	unknown
kassel	Nov 7, 1785	"Zur Stadt Stralsund" (later "Zum Hessischer Hof", Elisabeth Mara also stayed here ), on the corner of Hohentorstrasse	unknown	unknown	unknown	unknown
Goettingen	Nov. 1785	unknown	Hedwig Achenwall, Luise Böhmer, Charlotte Michaelis, Johann David Michaelis , Caroline Schelling , Gottfried Less , Gottfried Achenwall , Gottfried August Bürger	Nov 16	unknown	unknown
Wolfenbüttel	Nov. 1785	unknown	unknown	unknown	unknown	unknown
Braunschweig	Nov 24, 1785	unknown	possibly Johann Friedrich Wilhelm Jerusalem	Opera House on Hagenmarkt , Redoutensaal (Nov. 26)	unknown	unknown
Hanover	Dec 1785	unknown	Friedrich Ludwig Dulon , Charlotte Kestner , Franz Anton Zuccarini (actors)	Ballhof	unknown	unknown
Hamburg	Dec 1785	unknown	Charlotte Wilhelmine Franziska Brandes (gt. Minna, singer and actress, godchild of Gotthold Ephraim Lessing ), Johann Christian Brandes , Carl Philipp Emanuel Bach, Friedrich Gottlieb Klopstock	Concert hall on the Kamp (Jan. 5); House of CPE Bach	unknown	unknown
Berlin	Mid-January 1786	unknown	Heinrich XIV. Reuss zu Greiz , Anna Elisabeth Luise von Brandenburg-Schwedt , Fanny von Arnstein , Daniel Itzig , Johann Joachim Spalding	Berlin City Palace (2 ×, including Feb. 12), "Corsikasches Haus" (Feb. 6), "Stadt Paris" inn (Feb. 13)	various concerts, chants, rondeaux	Friedrich Eck , Electoral Palatinate Chamber Musician
Leipzig	Feb 15, 1786	unknown	Johann Gottlob Immanuel Breitkopf , Christian Felix Weisse , Georg Joachim Zollikofer	Gewandhaus (Feb. 26)	I was a poor little worm (text by Pfeffel) and others	unknown
Dresden	March 2, 1786	Hotel de Pologne ?	Johann Friedrich von Kageneck , Johann Leopold Neumann , Nathalie Neumann (one of the best pianists of her time), Maria Coudray	"Near Heßens" (March 24th)	unknown	unknown
Prague	March 31, 1786	unknown	Johann Ferdinand von Schönfeld , August Gottlieb Meißner	Thunsches Theater (April 8th),? (April 23)	unknown	Ignaz Fränzl
Vienna - terminus	probably April (Easter) 1786

Remarks

1. ↑ Maria Theresia Paradis' travel destinations between Augsburg and Strasbourg have not been clarified: either she took the route via Stuttgart, Pforzheim and Rastatt or the southern route via Günzburg , Ulm , Ehingen , Donaueschingen , Villingen and Offenburg .
2. ↑ Her route from Bern to Paris is also still uncertain: she may have traveled via Friborg , Lausanne , Geneva and Lyon .
3. ↑ The way back from Calais to Brussels is also still unclear. A number of stops and travel stations on the way are as yet unknown or not yet explored further.

Composer

Maria Theresia Paradis had already started composing piano music and songs before her three-year concert tour, which mainly carried her reputation as a pianist around the world. During her trip, she wrote her Twelve Songs , the printing costs of which were reimbursed by Luise Eleonore von Sachsen-Meiningen , an enthusiastic sponsor. After her return, Maria Theresia Paradis devoted herself more intensively to composition in Vienna. Another important contributor to her advancement was her pen pal Sophie von La Roche . Later planned concert tours to Italy and Russia did not materialize. In addition to songs, Paradis composed melodrama, cantatas, chamber music, piano concertos, singspiels and operas. Little of it has been researched so far, as these compositions are largely only known from performance dates and contemporary reviews. Her singing plays and operas, which she wrote in the 1790s and which were premiered in the Theater am Kärntnertor , met with approval.

Music teacher

She was one of the co-initiators of the institution royale des jeunes aveugles ("Royal Institute for the Young Blind") founded by Valentin Haüy in Paris in 1784 . In 1808 she founded the "Schab den Rüssel" apartment in Rothenturmstrasse CN. 482 opened an institute for musical education in Vienna , where she taught piano, singing and music theory to blind and sighted girls and young women. This was made possible by a sheet music case specially made for them, with which music could be made comprehensible:

“She has small cards on which cut-out notes in their true form are stuck. (...) Now she lets the children recognize these notes (since they are raised on the cards, they are as familiar to her as the written ones) and in order to make the value of them fully understandable, she plays with them; she gives z. B. a whole note, and the value of the same can be given gradually in halves, quarters, etc. for it, on other sheets it has the whole scale of the violin and the bass; (...) In order to learn fluency in playing and the fingering soon, she gives them runs and certain passages through all keys, (...) to be sure that they use the right fingers everywhere, including the hands hold beautifully, your hand always hovers lightly over it. Since her zeal, her diligence and indefatigability are tireless, she achieves the beautiful purpose of building a school which one day will get its reputation and be appreciated. ”“ Indeed, they [the pupils] are all more sisterly To love, and all hang on with all their souls to their mistress, from whom they never receive a bad word, but only love. "

“School” here - apart from their apartment as the place of instruction for their students - means their own system, similar to Leopold Mozart's attempt at a thorough violin school (1756), which is still used today as a standard work in violin lessons. Your school or music institute was also a model for other institutes of this kind, such as B. for the blind pianist and composer Josef Proksch .

Salonnière

Several times a year Maria Theresia Paradis held successful and popular concerts, balls and festivities in her house, which offered local as well as well-known musicians who were traveling through a platform and were so much appreciated by the public that the local newspapers reported about them regularly. With these concerts she was up to date, the concert programs have been preserved. Politically, Maria Theresia Paradis saw herself on the side of the monarchy. In Paris she had also met the royal family and made music with Marie Antoinette personally in Versailles , who herself was an excellent pianist and composed. Maria Theresia Paradis' patriotism is expressed in her composition Auf die Damen, who instead of gold pluck canvas for the wounded warriors (1794). She represented enlightened views and had friendly relationships with other salonniers in Vienna such as Caroline Pichler and the writer Gabriele von Baumberg . In 1797 Paradis traveled to Prague for the last time to watch the premiere of her magic opera Rinaldo and Alcina in the Estates Theater , which was unsuccessful. Physically and mentally exhausted, she tried to relax in the nearby Karlovy Vary and took relaxing walks in the vicinity.

Retirement

Probably in October 1797 she returned to Vienna, got her music salon going again and was able to welcome Joseph Haydn as a guest there, who rehearsed his great work The Creation with Ignaz Franz von Mosel and with her at the piano :

“The blind master learned the 1st pianoforte by heart in an incredibly short time, the 2nd played the famous Abbot Vogler, solo and choral parts were performed by amateurs. So it was given in front of a large audience and in the presence of Haydn, who at the end hugged me with the assurance that he had never enjoyed his work so perfectly as in this form. "

A "lung addiction and added nerve fever" is said to have been Maria Theresia Paradis' cause of death. She bequeathed more debts than fortunes to Johann Riedinger - the poor institute in Vienna and some relatives and friends were left with some money. Riedinger, whose success waned more and more, was forced to sell Paradis' estate. Your Joseph Brodmann wing is thought to be lost. She was buried in the Sankt Marxer Friedhof , the grave is lost.

Works (selection)

Many of the numerous works by Maria Theresia Paradis have been lost. In her stage works, the influence of her teacher Salieri is particularly evident in the dramatic scenes, otherwise the typical “Viennese Singspiel tone” prevails. Her piano works are strongly influenced by the style of her teacher Koželuh.

• Stage works
  • Ariadne and Bacchus (1791)
  • The School Candidate (1792)
  • Rinaldo and Alcina (1797)

• Song works
  • Mourning cantata for the death of Leopold II (1792)
  • German Monument to Ludwig the Unfortunate (1793)
  • Cantata on my father's recovery
  • Twelve songs

• Instrumental works
  • 2 piano concertos in G minor and C major
  • 12 piano sonatas (1792)
  • Piano Trio (1800)
  • 2 Fantasias for piano in G major (1807) and C major (1811)
  • Sicilienne for violin and piano (considered her most popular work; authorship is, however, controversial)

reception

From the inventory of the Wien Museum, magazine. In need of restoration, without original glass cover. Real hair. Coming from a school for the blind in Vienna.

The Paradisgasse in the 19th district of Vienna Döbling was named after her.

In recognition of their work, the “Von Parádis Trio” was founded in Vienna in 1999 by the musicians Ursula Bosch, Ildikó Tarmann and Karin Hopferwieser. The from and the accent in the name of this trio are, however, erroneous curiosities, since Paradis was not aristocratic, her grandfather Claude Paradis came from Savoy and her name is thus emphasized on the last syllable.

Alissa Walser's novel In the Beginning was the Night Music revolves around Franz Anton Mesmer's efforts to heal Maria Theresia Paradis. Based on this novel, the film Licht (also Mademoiselle Paradis ) by Barbara Albert was made in 2017 with Maria Dragus in the role of Maria Theresia Paradis and Devid Striesow as Franz Anton Mesmer.

In the magazine of the Wien Museum (Biographical Collections) in Vienna there is a wax bust with real hair, glass eyes and a frilled robe, which according to the original plaque in the base represents Maria Theresia Paradis. This bust cannot be seen in the reference collection because it needs restoration and the original glass cover is missing. She was originally in a Viennese school for the blind, possibly as a memorandum and out of admiration for her personality as a (blind) music teacher and role model. This bust is the only life-size, preserved and previously known wax bust of an artist from this period.

literature

• Constantin von Wurzbach : Paradis, Maria Theresia von . In: Biographisches Lexikon des Kaiserthums Oesterreich . 21st part. Kaiserlich-Königliche Hof- und Staatsdruckerei, Vienna 1870, pp. 286–289 ( digitized version ).
• Ludwig August Frankl: Maria Theresa von Paradis' biography. Linz 1876. ( digitized version ).
• Robert Eitner :  Paradise, Marie Therese . In: Allgemeine Deutsche Biographie (ADB). Volume 25, Duncker & Humblot, Leipzig 1887, p. 166 f.
• Alexander Mell: Encyclopaedic Handbook of the Blind. Published by A. Pichler's widow and son, Vienna / Leipzig, 1900, pp. 576–578.
• Hermann Ullrich: Maria Theresia Paradis and Dr. Franz Anton Mesmer. In: Yearbook of the Association for the History of the City of Vienna. XVII-XVIII. 1961–1962. Pp. 149-188.
• Hermann Josef Ullrich :  Paradis Maria Theresia. In: Austrian Biographical Lexicon 1815–1950 (ÖBL). Volume 7, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 1978, ISBN 3-7001-0187-2 , p. 323 f. (Direct links on p. 323 , p. 324 ).
• Brian O'Doherty: The Strange Case of Mademoiselle P. Vintage, London 1992, ISBN 0-09-922371-6 .
• Ruth Halliwell: The Mozart Family: Four Lives in a Social Context. Clarendon Press, Oxford 1998.
• Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians. (2nd edition) Grove Dictionaries, New York 2000.
• Rudolph Angermüller: Antonio Salieri. Documents of his life. 3 vols. Bock, Bad Honnef 2002.
• BBI (Hrsg.): 200 years of blind education in the German-speaking area. Vienna 2004, p. 56.
• Christian Fastl: Paradis, family. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 4, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2005, ISBN 3-7001-3046-5 .
• Marion Fürst: Maria Theresia Paradis - Mozart's famous contemporary . Böhlau, Cologne 2005, ISBN 3-412-19505-7 .
• Eva Weissweiler : female composers from the Middle Ages to the present . Munich: dtv, 1999 ISBN 3-423-30726-9 , pp. 163-189

Web links

Commons : Maria Theresia von Paradis  - Collection of images, videos and audio files

• Literature by and about Maria Theresia von Paradis in the catalog of the German National Library
• Biography, literature and sources on Maria Theresia Paradis at FemBio of the Institute for Women's Biography Research
• Maria Theresia Paradis at MUGI - Music and Gender on the Internet , project of the Hamburg University of Music and Theater
• Entry on Maria Theresia von Paradis in the Austria Forum  (in the AEIOU Austria Lexicon )
• Sheet music and audio files by Maria Theresia Paradis in the International Music Score Library Project
• Sicilienne , interpreted by Jacqueline du Pré (1962).
• Lexicon article "Paradis, Theresia" by the Sophie Drinker Institute

Notes and individual references

1. ↑ Hermann Josef Ullrich demonstrated in an article in the yearbook of the Association for the History of the City of Vienna (vol. 17/18, 1961/1962) that she was not of nobility. The same can be seen from Karl Friedrich von Frank: Status surveys and acts of grace for the German Empire and the Austrian hereditary lands up to 1806, as well as imperial Austrian ones up to 1823 with some additions to the “Old Austrian Adels Lexicon 1823-1918”. Self-published, Senftenegg. (See also: Michael Lorenz : Review of Marion Fürst's monograph )
2. ↑ See Michael Lorenz: Review of Marion Fürst's monograph , on the author's website, accessed on December 11, 2013.
3. ↑ Cf. Marion Fürst: Maria Theresia Paradis - Mozart's famous contemporary. Böhlau, Cologne 2005, ISBN 3-412-19505-7 , p. 114.
4. ↑ However, she could not cope with her own reflection and her piano playing and missed the keys with sight. She found human noses ridiculous. But she always looked at the stars with great admiration. See Marion Fürst, p. 45.
5. ↑ According to the statements of her parents, it is said to have arisen "suddenly" overnight, "due to repulsed moisture or a cold". Another story tells of "terrible screams" in the Paradis house, whereupon the child was immediately blinded out of shock. Neither of the two versions is credible and the latter cannot be proven (cf. Marion Fürst, p. 23).
6. ↑ Mercure de France , April 24, 1784, pp. 176f. ( online in the Google book search), quoted. n. Marion Fürst, p. 101.
7. ↑ This book is in a box in the Vienna City Library.
8. ↑ Barbara Hodgson: The crinoline stays in Cairo. Traveling women 1650 to 1900. Hildesheim 2007, ISBN 3-8067-2955-7 , ISBN 978-3-8067-2955-9 .
9. ↑ Barbara Hodgson: The desert breathes freedom. Traveling women in the Orient 1717 to 1930. Hildesheim 2007, ISBN 3-8067-2956-5 , ISBN 978-3-8067-2956-6 .
10. ↑ Joseph Imorde and Erik Wegerhoff (eds.): Dreckige Laken. The downside of the “Grand Tour”. Berlin 2012, ISBN 978-3-8031-2680-1 .
11. ^ Attilio Brilli: When traveling was an art. From the beginning of modern tourism: The “Grand Tour”. Berlin 1997/2012, ISBN 978-3-8031-2274-2 .
12. ↑ Christoph-Hellmut Mahling (Ed.): Musicians on trips. Contributions to cultural transfer in the 18th and 19th centuries. Augsburg 2011.
13. ↑ See article with a detailed list of sources and works by Marion Fürst MUGI
14. ^ Marion Fürst: Maria Theresia Paradis. Mozart's famous blind contemporary. 2005, ISBN 3-412-19505-7 .
15. ↑ The most excellent faceless music virtuosos of recent times. A memorial of honor. In: Allgemeine Musikische Zeitung, year 1817, col. 249-251, col. 265-267, col. 288-290, col. 314-317, col. 321-324 (online at ANNO ); Marion Fürst, p. 178f.
16. ↑ The most excellent faceless music virtuosos of recent times. A memorial of honor. In: Allgemeine Musikische Zeitung, year 1817, Sp. 322 (online at ANNO).
17. ↑ See Marion Fürst, pp. 183–195.
18. ^ Helga Peham: The Salonièren and the Salons in Vienna. 200 years of history of a special institution. styria premium, 2013, ISBN 978-3-222-13402-9 .
19. ↑ Ignaz von Mosel: Notes about myself. (Ed. By Theophil Antonieck). In: Elisabeth Theresia Hilscher (ed.): 200 years of musical life in memories: Ignaz von Mosel (1772–1844), Johann Nepomuk Freiherr von Haßlinger (1822–1898), Joseph Mantuani (1860–1933), Ján Albrecht (1919–1996 ) (= Vienna Publications on Musicology, Vol. 35). Tutzing 1998, pp. 11-66.
20. ^ Website of the ensemble
21. ↑ Alissa Walser: In the beginning there was music at night. Novel. Piper, Munich / Zurich 2010, ISBN 978-3-492-05361-7 .
22. ↑ Reviews at Perlentaucher .
23. ↑ Michael Lorenz, see footnote 2.