Scan 74
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
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1PARADIES (PARADISI), Pietro Domenico (b. Naples, 1710; d. Venice, 1792), a pupil of Porpora, and an esteemed teacher and composer, lived for many years in London. He wrote 'Alessandro in Persia' for Lucca in 1738, and 'Il decreto del fato' (serenata) for Venice in 1740. In 1747 he produced at the King's Theatre 'Fetonte,' six airs from which were published by Walsh, and frequently sung at concerts by Signora Galli. He also printed twelve 'Sonate di gravicembalo,' dedicated to the Princess Augusta (Johnson; 2nd ed. Amsterdam, 1770). Such players as Clementi and Cramer studied his works conscientiously, and he was in great request as a teacher. When Gertrude Schmeling (afterwards Mme. Mara) made her first appearance in London as a violinist of 11 Paradies was engaged as her singing-master, but her father soon found it necessary to withdraw her from his influence. An earlier pupil, and one of his best, was Cassandra Frederick,1 who at the age of five and a half gave a concert in the Little Haymarket Theatre (1749), playing compositions by Scarlatti and Handel. The last we hear in England of this eccentric Italian is his connexion with the elder Thomas Linley, to whom he gave instruction in harmony and thorough-bass. He returned to Italy. Ten sonatas are in the Trésor des pianistes, one in D is printed by Pauer in his 'Alte Meister,' and another, in A, in his 'Alte Klaviermusik'; and a Toccata is given in Breitkopf's 'Perles musicales.' The Fitzwilliam Collection at Cambridge contains much MS. music by him (including the scores of the operas 'Antioco,' 'Fetonte,' 'La forza d'amore' and 'Il decreto del fato'), apparently in his autograph.
3PARADIS, MARIE THERESE VON (b. Vienna, May 15, 1759; d. Feb. 1, 1824), daughter of Joseph Anton, an Imperial Councillor. She was a highly esteemed pianist, and Mozart wrote a concerto for her (in Bb, Köchel, 456). She also attained to considerable skill on the organ, in singing, and in composition, and this in spite of her being blind from early childhood. The piano she studied with Richter (of Holland), and afterwards with Kozeluch, whose concertos were her favourite pieces; singing with Salieri and Righini; and composition with Friberth, and the Abbé Vogler. The Empress, her godmother, took a great interest in her, and made her a yearly allowance of 200 gulden. In 1784 she went to Paris, where she remained six months, playing before the court, and at the Concert Spirituel, with great applause. In November she went to London. Here she stayed five months, played before the King, Queen and Prince of Wales, whom she accompanied in a violoncello sonata, at the then recently founded Professional Concerts (Hanover Square Rooms, Feb. 16, 1785), and finally at a concert of her own, conducted by Salomon, in Willis's Rooms on Mar. 8. A notice of her appeared in the St. James's Chronicle for Feb. 19. She next visited Brussels and the more important courts of Germany, attracting all hearers by her playing and her intellectual accomplishments. After her return to Vienna she played twice at the concerts of the Tonkünstler-Societät, and took up composition with great ardour, using a system of notation2 invented for her by a friend of the family named Riedinger. Of her works, the following were produced: 'Ariadne und Bacchus,' a melodrama, played first at Laxenburg, before the Emperor Leopold (1791), and then at the national court-theatre; 'Der Schulcandidat,' a pastoral Singspiel (Leopoldstadt Theatre, 1792); 'Deutsches Monument,' a Trauer-cantate for the anniversary of the death of Louis XVI. (small Redoutensaal, Jan. 21, 1794, repeated in the Kärnthnerthor Theatre); and 'Rinaldo und Algina,' a magic opera (Prague). She also printed a Clavier-trio, sonatas, variations (dedicated to Vogler); 12 Lieder; Bürger's 'Lenore,' etc. After her father's death she founded a music school for girls, and towards the close of her life she devoted herself exclusively to teaching singing and the pianoforte, and with great success.
5C. F. P.
7PARADISE AND THE PERI, the second of the four poems which form Moore's Lalla Rookh, has been several times set to music.
8(1) 'Das Paradies und die Peri,' by Robert Schumann, for solos, chorus and orchestra (op. 50). The words were compiled by Schumann himself from the translations of Flechsig and Oelkers, with large alterations of his own; produced Leipzig, Dec. 2, 1843; in England, Philharmonic Society, June 23, 1856, having previously been heard in Dublin, Feb. 10, 1854.3
9(2) A fantasia-overture, 'Paradise and the Peri' (op. 42), composed by Sterndale Bennett for the Jubilee Concert of the Philharmonic Society, July 14, 1862, and produced then.
10(3) A cantata, for solos, chorus, orchestra and organ, by J. F. Barnett; the words selected from Moore. Produced Birmingham Festival, Aug. 31, 1870.
11(4) 'La Peri,' 'poème dansé' by Paul Dukas, Paris (Châlelet) 1912.
13PARAVICINI, Signora (b. Turin, 1769), daughter of Isabella Gandini the singer. Viotti was her master, and her full pure tone, graceful bowing, and scholarly style gained her considerable fame as a violinist. During the Milanese festivities which celebrated the battle of Lodi, she felicitously attracted the attention of the Empress Josephine, who engaged her to teach her son Eugène Beauharnais, and took
151 Miss Frederica, a favourite of Handel, also played the organ in public in 1760, and sang in Handel's oratorios. She married Thomas Wynne, a land-owner in South Wales, and exercised considerable influence over the musical education of her nephew Massinghi.
162 Described in detail in the Leipzig A.M.Z., 1810, No. 57.
173 See Musical World, Mar. 9, 1878, p. 174. See also 'Lalla Rookh' and 'Veiled Prophet.'
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