367:"'Or giunte siamo dove il principe nostro potremo vagheggiar': Tre serenate di D'Alessandro/Vivaldi, Carcani e Paradies/Galuppi per Federico Cristiano di Sassonia (Venezia, Ospedali Grandi, 1740)"
338:"'Or giunte siamo dove il principe nostro potremo vagheggiar': Tre serenate di D'Alessandro/Vivaldi, Carcani e Paradies/Galuppi per Federico Cristiano di Sassonia (Venezia, Ospedali Grandi, 1740)"
119:, which has established for itself a considerable discography, although there has been a revival of more of his music recently, at least regarding the keyboard sonatas. He was also the author of
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A reviewer of a modern edition of his sonatas, all first edited by the composer, noted in passing "Paradies (never
Paradisi, it seems)" suggesting that Paradisi might be a modern adaptation.
72:. There, he composed two semi-dramatic, occasional serenatas, including a serenata in honor of Frederick Christian, the Prince of Saxony and Heir to Poland. In 1746 he moved to
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Cudworth, Charles (January 1972). "Favourite
Sonatas: Sonate di Gravicembalo. Band I, Sonatas 1-6; Band II, Sonatas 7-12. By Paradies, edited by Hugo Ruf; Hans Bemmann".
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115:(London, 1754). The Toccata in A that is still played often today is an Allegro movement from his sonata VI in
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and music teacher, most prominently known for a composition popularly entitled "
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and for harpsichord, individual pieces for harpsichord, arias and
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The famous
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37:) (1707 – 25 August 1791) was an Italian
373:(in Italian). Turnhout: Brepols. pp. 191–239.
344:(in Italian). Turnhout: Brepols. pp. 191–239.
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107:. Especially celebrated above all were his twelve
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400:"Sunday music: the sonatas of Domenico Paradies"
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302:(online ed.). Oxford University Press.
84:. In 1770 he returned to Italy. He died in
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299:Oxford Dictionary of National Biography
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266:"Biography of Gertrud Elisabeth Mara"
99:His musical style was influenced by
80:, probably around 1750 and possibly
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431:Short bio at Move record label site
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500:Italian Classical-period composers
398:Sanders, Donald C. (Spring 2004).
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410:(1886). London: Orpheus: 68–74.
369:. In Ciliberti, Galliano (ed.).
340:. In Ciliberti, Galliano (ed.).
214:(1547). London: Orpheus: 77–78.
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293:"Linley, Thomas (1733–1795)"
92:Instrumental and vocal music
27:Italian composer (1707–1791)
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365:Tribuzio, Giovanni (2021).
336:Tribuzio, Giovanni (2021).
268:. ODB Opéra. Archived from
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248:Pietro Domenico Paradies,
520:18th-century keyboardists
495:Italian Baroque composers
371:Music Patronage in Italy
342:Music Patronage in Italy
290:Aspden, Suzanne (2004).
64:. Probably a student of
35:Pietro Domenico Paradisi
31:Pietro Domenico Paradies
18:Pietro Domenico Paradisi
510:Italian opera composers
505:Italian harpsichordists
82:Thomas Linley the elder
308:10.1093/ref:odnb/16737
78:Gertrud Elisabeth Mara
161:(The Decrees of Fate)
60:Paradies was born in
459:31 equal temperament
149:Alessandro in Persia
159:Il Decreto del Fato
105:Domenico Scarlatti
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480:1791 deaths
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313:28 December
469:Categories
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276:2007-11-20
193:References
101:Alessandro
228:0027-4666
121:concertos
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125:organ
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