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1020 lines
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_2>Erstmalig erschienen im Jahrbuch des Vereines für Geschichte der Stadt Wien.</SPAN> <SPAN class=systran_seg id=seg_3>Band <SPAN class=systran_nfw_source id=nfw_1>XXI/XXII</SPAN> (1965/66)</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_4>ISBN 3 7952 0113 6</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 7pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_5>© 1971 <SPAN class=systran_nfw_source id=nfw_2>by</SPAN> Hans Schneider, <SPAN class=systran_nfw_source id=nfw_3>Tutzing</SPAN> Satz und Druck:</SPAN> <SPAN class=systran_seg id=seg_6>Ernst Vögel, München 22, Kanalstraße 10</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt"><SPAN class=systran_seg id=seg_7>I.</SPAN></SPAN><SPAN class=systran_seg id=seg_7> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">Abschnitt MENSCH UND KÜNSTLERIN</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_8>„Das Ohr ist überhaupt die Tiefe der Seele . . . der Klang spricht die tief ver&shy;borgene Ordnung unseres Inneren an . . ."</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_9>Jean Faul</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_10>Im letzten Viertel des rationalistischen und doch zugleich gefühl&shy;vollen und empfindsamen 18.</SPAN> <SPAN class=systran_seg id=seg_11>Jahrhunderts begann die Frau in den Künsten, vor allem in der Musik, bedeutsamer hervorzutreten.</SPAN> <SPAN class=systran_seg id=seg_12>Konnte auch noch von Emanzipation und Gleichberechtigung keine Rede sein, blieb sie auch weiter eng an Haus und Familie gebunden und in ihren Bildungsmöglichkeiten stark zurückgesetzt, so gab doch der „Zeitstil der Empfindsamkeit und dann der Romantik den Frauen Gelegenheit, ihr Eigentliches und Besonde&shy;res auszusprechen, so daß sie der allgemeinen Aufmerksamkeit gewiß sein konnten".</SPAN><SUP><SPAN class=systran_seg id=seg_13>1</SPAN></SUP><SPAN class=systran_seg id=seg_13> Immer häufiger begegnen wir im mittel&shy;europäischen Raum Berufsmusikerinnen, vor allem reisenden <SPAN class=systran_nfw_source id=nfw_4>Vir&shy;tuosinnen</SPAN> oder fest in den Musikbetrieb einer Stadt eingeglieder&shy;ten Künstlerinnen, wie etwa zu J. A. <SPAN class=systran_nfw_source id=nfw_5>Hillers</SPAN> Zeit <SPAN class=systran_nfw_source id=nfw_6>Gertrud Schmeh-ling</SPAN> und <SPAN class=systran_nfw_source id=nfw_8>Corona Schröter</SPAN> als <SPAN class=systran_nfw_source id=nfw_9>Gesangsolistinnen</SPAN> des „Grossen Konzerts" in Leipzig, oder an dem von <SPAN class=systran_nfw_source id=nfw_10>Joseph</SPAN></SPAN></SPAN><SPAN class=systran_seg id=seg_13> <SPAN style="FONT-SIZE: 9pt">II.</SPAN> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">begründeten k.</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_14>k.</SPAN> <SPAN class=systran_seg id=seg_15>National-Hoftheater bedeutenden Opernsängerinnen wie <SPAN class=systran_nfw_source id=nfw_11>Catarina Cavalieri2</SPAN>, Mozarts erster <SPAN class=systran_nfw_source id=nfw_12>Konstanze</SPAN>, und <SPAN class=systran_nfw_source id=nfw_13>Aloysia</SPAN> Weber, <SPAN class=systran_nfw_source id=nfw_14>verehel</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_16>Lange, seiner Schwägerin.</SPAN> <SPAN class=systran_seg id=seg_17>Auch schöpferisch be&shy;gannen die Frauen in einer trotz aller <SPAN class=systran_nfw_source id=nfw_15>Galanterie</SPAN> noch durchaus männlichen Welt mit eigenen Leistungen hervorzutreten, wie in Weimar die Herzogin-Mutter <SPAN class=systran_nfw_source id=nfw_16>Amalie</SPAN>, in Wien die <SPAN class=systran_nfw_source id=nfw_18>Porpora-</SPAN> und J. Haydn-Schülerin <SPAN class=systran_nfw_source id=nfw_19>Marianne</SPAN> v. <SPAN class=systran_nfw_source id=nfw_20>Martinez.3</SPAN> Unter diesen Musi&shy;kerinnen finden sich wiederholt auch Blinde, blind geboren oder — öfter — als Folge der schwarzen <SPAN class=systran_spellcheck id=spellcheck_1>Blattern</SPAN>, dieser vor Erfin&shy;dung der Pockenschutzimpfung furchtbaren und kaum heilbaren Krankheit — in früher Jugend erblindet, wie die <SPAN class=systran_nfw_source id=nfw_21>Pianistin</SPAN> und Komponistin Maria <SPAN class=systran_nfw_source id=nfw_23>Theresia</SPAN> <SPAN class=systran_spellcheck id=spellcheck_2>Paradis</SPAN> und die <SPAN class=systran_nfw_source id=nfw_25>Glasharmonika&shy;spielerin Mariane Kirchgessner</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_18>Die Zusammenhänge zwischen Blindheit und Musikbegabung sind noch kaum genauer erforscht und Hans J. <SPAN class=systran_nfw_source id=nfw_26>Moser</SPAN> hat sicher recht, wenn er mit <SPAN class=systran_nfw_source id=nfw_27>Friedrich Roch&shy;litz4</SPAN> annimmt, es sei zwar unter Blinden Musikbegabung weder häufiger noch stärker als unter Sehenden;</SPAN> <SPAN class=systran_seg id=seg_19>allein das Fehlen des Gesichtssinnes bewirke, daß ein größerer Teil der allgemeinen seelischen Aufmerksamkeit sich dem Gehörsinn zuwende, so daß der Ausfall <SPAN class=systran_nfw_source id=nfw_28>zerstreuender</SPAN> Gesichtseindrücke die innere Sammlung auf dichterisch-musikalische Vorstellungen zu fördern vermöge.</SPAN> <SPAN class=systran_seg id=seg_20>Durch das sogenannte <SPAN class=systran_nfw_source id=nfw_30>Vicariat</SPAN> der Sinne werden durch den Aus&shy;fall des Gesichtssinnes stellvertretungsweise Gehör- und Tastsinn stark intensiviert.</SPAN> <SPAN class=systran_seg id=seg_21>Indessen betont <SPAN class=systran_nfw_source id=nfw_31>Rochlitz</SPAN> sicher zutreffend, daß diese Situation zunächst nur eine Schärfung des Gedächtnisses, der Fertigkeit und Präzision im Spiel, daneben auch Fülle, Sicher&shy;heit und Schönheit des Tones, also spezifische <SPAN class=systran_nfw_source id=nfw_32>Virtuosenfaktoren</SPAN>, ins Dasein rufe, ohne aber schöpferische Phantasie, Tiefe und Zartheit des Gefühls, also Kennzeichen originärer Begabung, zu schaffen — sofern diese nicht schon existieren.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_22>Zwei solche blinde Frauen, Phänomene in ihrem Bereich und einst Trägerinnen berühmter Namen, sind für das alte Öster&shy;reich, also vor allem für Wien, in dem als Hauptstadt eines großen Reiches dessen Lebensenergien vor allem pulsierten, bedeutsam geworden:</SPAN> <SPAN class=systran_seg id=seg_23>Maria <SPAN class=systran_nfw_source id=nfw_34>Theresia</SPAN> <SPAN class=systran_spellcheck id=spellcheck_3>Paradis</SPAN>, altem österreichischen Beam&shy;tengeschlecht entstammend, und <SPAN class=systran_nfw_source id=nfw_36>Mariane Kirchgessner</SPAN>, ihrer Herkunft nach Süddeutsche, aber durch ihre <SPAN class=systran_nfw_source id=nfw_37>Virtuosenlaufbahn</SPAN>, die in Wien ihren steilen Aufstieg nahm, sie mit W. A. Mozart in schöpferische Beziehung brachte und gegen Ende ihres Lebens wie&shy;der hier in brillante Erscheinung trat, mit dieser Stadt eng ver&shy;bunden.</SPAN> <SPAN class=systran_seg id=seg_24>Ungleich ihrer Schicksalsgenossin hat die <SPAN class=systran_nfw_source id=nfw_38>Kirchgessner</SPAN> wohl nicht den ganzen Wirkungs- und Lebenskreis einer Musike&shy;rin ausgeschritten, sondern sich auf das <SPAN class=systran_nfw_source id=nfw_39>virtuose</SPAN> Spiel ihres heute vergessenen, damals viel bewunderten oder angefeindeten, von den Weimarer Klassikern und noch von den Romantikern immer wieder gepriesenen Instruments, der <SPAN class=systran_nfw_source id=nfw_40>Glasharmonika</SPAN>, beschränkt.</SPAN> <SPAN class=systran_seg id=seg_25>Aber ihr Leben und Wirken sind so charakteristisch für die <SPAN class=systran_nfw_source id=nfw_41>emp&shy;findsame</SPAN> und für die frühromantische Epoche in der Geschichte Wiens, daß es gar wohl der Mühe lohnt, sich mit ihr in diesem Zusammenhang zu beschäftigen.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_26><SPAN class=systran_nfw_source id=nfw_42>Mariane Kirchgessner5</SPAN> kam am 5. Juni 1769 in <SPAN class=systran_nfw_source id=nfw_43>Bruchsal6</SPAN>, damals Residenz des Fürstbischofs von <SPAN class=systran_nfw_source id=nfw_44>Speier</SPAN>, heute einer Pro&shy;vinzstadt des einstigen Großherzogtums Baden, vermutlich als</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">8</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_28>fünftes Kind des <SPAN class=systran_nfw_source id=nfw_45>speierischen</SPAN> Kammerzahlmeisters (<SPAN class=systran_nfw_source id=nfw_46>ärarii came&shy;ralis dispensatoris</SPAN>) <SPAN class=systran_nfw_source id=nfw_47>Joseph Anton Kirchgessner</SPAN> und seiner Gattin Maria <SPAN class=systran_nfw_source id=nfw_48>Theresia</SPAN>, geborene <SPAN class=systran_nfw_source id=nfw_49>Wassmuth</SPAN>, zur Welt und wurde am 9. Juni in der Stadtpfarrkirche <SPAN class=systran_nfw_source id=nfw_50>SS</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_29><SPAN class=systran_nfw_source id=nfw_51>Damian</SPAN> und <SPAN class=systran_nfw_source id=nfw_52>Hugo</SPAN> nach r.</SPAN><SPAN class=systran_seg id=seg_30>-k.</SPAN> <SPAN class=systran_seg id=seg_31>Ritus getauft.</SPAN> <SPAN class=systran_seg id=seg_32>Daß sie zeitlebens fromme <SPAN class=systran_nfw_source id=nfw_53>Katholikin</SPAN> war, kann man daraus schließen, daß sie noch in ihrer letzten Krankheit in Schaffhausen im Dezember 1808 aus den mitten in protestanti&shy;schem Land als Enklave gelegenen Kloster Paradies im Kanton <SPAN class=systran_nfw_source id=nfw_55>Thurgau</SPAN> einen <SPAN class=systran_nfw_source id=nfw_56>Beichtvater</SPAN> erbat und nach Empfang der <SPAN class=systran_nfw_source id=nfw_57>Sakra&shy;mente</SPAN> starb.</SPAN> <SPAN class=systran_seg id=seg_33>Auf ihren Wunsch wurde sie auch im Laienfriedhof des (heute längst aufgehobenen) Klosters zur letzten Ruhe <SPAN class=systran_nfw_source id=nfw_58>be&shy;stattet</SPAN>.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_34>Vater <SPAN class=systran_nfw_source id=nfw_59>Kirchgessner</SPAN> war im nahen Wallfahrtsort <SPAN class=systran_nfw_source id=nfw_60>Waghäusel</SPAN> (<SPAN class=systran_nfw_source id=nfw_61>Pfarre Wiesenthal</SPAN>) tätig, wo ihm zwischen 1762 und 1766 vier Töchter geboren wurden, denen nach seiner Versetzung nach <SPAN class=systran_nfw_source id=nfw_62>Bruch&shy;sal</SPAN> als fünfte und vorletzte Maria Anna folgte.</SPAN> <SPAN class=systran_seg id=seg_35>Zwei Jahre später wurde eine sechste Tochter, Maria <SPAN class=systran_nfw_source id=nfw_63>Gertrud Sophie</SPAN>, geboren, die in den letzten Lebensjahren ihrer berühmten Schwester deren stän&shy;dige Reisebegleiterin <SPAN class=systran_nfw_source id=nfw_65>wurde.8</SPAN> Beide Eltern waren musikalisch, der Vater war ein guter <SPAN class=systran_nfw_source id=nfw_66>Cellist</SPAN> und Tenorsänger, die Mutter spielte Klavier und Hackbrett <SPAN class=systran_nfw_source id=nfw_68>trefflich</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_36>Die kleine <SPAN class=systran_nfw_source id=nfw_69>Mariane</SPAN>, ebenso musikalisch begabt wie ihre Geschwister, wurde mit vier Jahren von den Pocken befallen, einer damals so gut wie unheilbaren Krankheit, die ihre Erblindung durch schwarzen Star herbeiführte.</SPAN> <SPAN class=systran_seg id=seg_37>Das Mädchen setzte indessen ungeachtet des schweren Unglücks, das sie betroffen hatte, ihre Klavierübungen fort und brachte es, ohne systematischen Unterricht erhalten zu haben, soweit, daß sie mit richtigem Vortrag und Ausdruck kleine Stücke spielen konnte.</SPAN> <SPAN class=systran_seg id=seg_38>Der <SPAN class=systran_nfw_source id=nfw_70>Mäzen Josef Anton</SPAN> S. Reichsfreiherr von <SPAN class=systran_nfw_source id=nfw_71>Beroldingen</SPAN>, <SPAN class=systran_nfw_source id=nfw_72>speie&shy;rischer Domkapitular</SPAN> und <SPAN class=systran_nfw_source id=nfw_73>Kammerpräsident9</SPAN>, hörte das Kind und fand soviel Gefallen an seinem Talent, daß er sie dem <SPAN class=systran_nfw_source id=nfw_74>Karls&shy;ruher</SPAN> Kapellmeister <SPAN class=systran_nfw_source id=nfw_76>Joseph Schmittbauer</SPAN> zur Ausbildung, vor allem in der <SPAN class=systran_nfw_source id=nfw_77>Glasharmonika</SPAN> übergab, ein Instrument, auf dem der Kapellmeister nicht nur selbst <SPAN class=systran_nfw_source id=nfw_79>Virtuose</SPAN> war, sondern das er auch in guter Ausführung herzustellen wußte.</SPAN> <SPAN class=systran_seg id=seg_39><SPAN class=systran_nfw_source id=nfw_80>Beroldingen</SPAN> be&shy;gnügte sich aber nicht mit dieser Hilfe;</SPAN> <SPAN class=systran_seg id=seg_40>er ließ für das an dem weichen, klangschönen Instrument offenkundig sehr interessierte, nun etwa 10 Jahre alte Kind von <SPAN class=systran_nfw_source id=nfw_81>Schmittbauer10</SPAN> eine <SPAN class=systran_nfw_source id=nfw_82>Glasharmo&shy;nika</SPAN> des <SPAN class=systran_nfw_source id=nfw_83>Franklinschen</SPAN> Typus konstruieren, für die er den damals ganz außerordentlich hohen Preis von 100 <SPAN class=systran_nfw_source id=nfw_84>Speziesdukaten be&shy;zahlte.11</SPAN> In mehr als zehnjährigem Studium erreichte <SPAN class=systran_nfw_source id=nfw_85>Mariane</SPAN> nun einen so hohen Grad von technischer Vollkommenheit, ja <SPAN class=systran_nfw_source id=nfw_86>Virtuosität</SPAN> auf dem damals höchster Beliebtheit sich erfreuenden Instrument, daß ihre Freunde — ihr Vater war 1790 mit einem Ruhegenuß von 400 fl pensioniert worden und mußte auch darum an einer finanziellen Entlastung interessiert sein — und Gönner, darunter der <SPAN class=systran_nfw_source id=nfw_87>markgräfliche</SPAN> Hof zu Karlsruhe, an dem sie sich wiederholt hatte hören lassen, vor allem aber ihr Lehrer <SPAN class=systran_nfw_source id=nfw_88>Schmitt&shy;bauer</SPAN></SPAN> <SPAN class=systran_seg id=seg_41>die Zeit für gekommen hielten, eine <SPAN class=systran_nfw_source id=nfw_89>Virtuosenreise</SPAN> zu unternehmen, um ihr Können unter Beweis zu stellen und zu&shy;gleich die Chance zur Erwerbung eines Vermögens zu nutzen.</SPAN> <SPAN class=systran_seg id=seg_42>Das Hauptverdienst am Zustandekommen dieser fast ein Jahr&shy;zehnt dauernden großen Kunstfahrt besitzt aber wohl der <SPAN class=systran_nfw_source id=nfw_90>speieri&shy;sche</SPAN> Notendrucker, Musikverleger und Zeitungsherausgeber <SPAN class=systran_nfw_source id=nfw_91>Hein&shy;rich Philipp Bossler12</SPAN>, eine der interessantesten Persönlichkeiten des deutschen Musiklebens jener Tage, der damals in eigenen Ge&shy;schäften nach Wien reiste und sich bereit fand, gemeinsam mit seiner Gattin den Schutz und, wie wir heute sagen würden, das Management der jungen <SPAN class=systran_nfw_source id=nfw_92>Virtuosin</SPAN> zu übernehmen, wobei er wahr&shy;scheinlich auch selbst seinen Nutzen zu finden hoffte.</SPAN> <SPAN class=systran_seg id=seg_43>Aus dieser Reisegemeinschaft erwuchs aber eine herzliche Freundschaft, die bis zum Tode der Künstlerin währte und noch in rührender Pflege während ihrer letzten Krankheit sich <SPAN class=systran_nfw_source id=nfw_93>äußerte.13</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_44>Die Reise wurde im Februar 1791 <SPAN class=systran_nfw_source id=nfw_94>angetreten14</SPAN> und führte mit Aufenthalten in Heilbronn, Ludwigsburg und Stuttgart, wo Kon&shy;zerte gegeben wurden, nach München, Salzburg und <SPAN class=systran_nfw_source id=nfw_95>Linz</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_45>In der oberösterreichischen Landeshauptstadt spielte sie am 24. 4. 1791 im Theater allein und mit Begleitung von <SPAN class=systran_nfw_source id=nfw_96>konzertanten</SPAN> Instru&shy;menten mit so großem Erfolg, daß die Wiener Zeitung, die da&shy;mals nur selten Kunst- und Kulturnachrichten enthielt, einen Kor&shy;respondentenbericht brachte, der sein <SPAN class=systran_nfw_source id=nfw_98>Entzücken</SPAN> nicht besser als durch Anführung einer Äußerung Christian <SPAN class=systran_nfw_source id=nfw_99>Fr. Daniel</SPAN> Schubarts</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_46>ausdrücken zu können <SPAN class=systran_nfw_source id=nfw_100>meinte.15</SPAN> Nun war ihr auch der Boden in Wien geebnet, wo sie sich fast fünf Monate aufhielt und dreimal <SPAN class=systran_nfw_source id=nfw_101>konzertierte.16</SPAN> Nächstes Reiseziel war Prag, wo sie am 23. Okto&shy;ber 1791 im Konzertsaal des Hotels zum Bad <SPAN class=systran_nfw_source id=nfw_102>konzertierte.17</SPAN> Hatte ihr Repertoire bei ihrer Abreise aus <SPAN class=systran_nfw_source id=nfw_103>Bruchsal</SPAN> vorwiegend aus <SPAN class=systran_nfw_source id=nfw_104>Soli</SPAN>, Kammermusik- und Konzertstücken ihres Freundes <SPAN class=systran_nfw_source id=nfw_105>Joh</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_47>F. Christmann oder ihres Landsmannes <SPAN class=systran_nfw_source id=nfw_106>Johann Eichhorn18</SPAN> und wohl auch ihres Lehrers <SPAN class=systran_nfw_source id=nfw_107>Joseph Schmittbauer</SPAN> bestanden, so war es in Wien durch das herrliche <SPAN class=systran_nfw_source id=nfw_108>Quintett</SPAN> (<SPAN class=systran_nfw_source id=nfw_109>KV</SPAN> 617) W. A. Mozarts für <SPAN class=systran_nfw_source id=nfw_110>Glasharmonika</SPAN>, Flöte, Oboe, <SPAN class=systran_nfw_source id=nfw_111>Viola</SPAN> und Violoncello, ein <SPAN class=systran_nfw_source id=nfw_113>Ada&shy;gio</SPAN> für <SPAN class=systran_nfw_source id=nfw_114>Glasharmonika</SPAN> solo (<SPAN class=systran_nfw_source id=nfw_115>KV</SPAN> 356 = <SPAN class=systran_nfw_source id=nfw_116>KV</SPAN> 617a) und verschie&shy;dene — bisher unauffindbare — Kompositionen von Jan <SPAN class=systran_nfw_source id=nfw_117>Wan&shy;hall</SPAN> bereichert worden, zu denen später noch die für sie geschrie&shy;benen 6 <SPAN class=systran_nfw_source id=nfw_118>Sonaten</SPAN> Op.</SPAN> <SPAN class=systran_seg id=seg_48>4 von <SPAN class=systran_nfw_source id=nfw_119>Johann</SPAN> G. <SPAN class=systran_nfw_source id=nfw_120>Naumann</SPAN> und Werke von <SPAN class=systran_nfw_source id=nfw_121>Anton Reicha</SPAN> traten.</SPAN> <SPAN class=systran_seg id=seg_49>In Dresden konnte sie im Februar 1792 vor dem für <SPAN class=systran_nfw_source id=nfw_123>Virtuosen</SPAN> im allgemeinen nur schwer zugänglichen Kurfürsten <SPAN class=systran_nfw_source id=nfw_122>Friedrich</SPAN> August</SPAN></SPAN><SPAN class=systran_seg id=seg_49> <SPAN style="FONT-SIZE: 9pt">III.</SPAN> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">spielen und wurde von ihm reich beschenkt, während sein <SPAN class=systran_nfw_source id=nfw_124>Oberkapellmeister Naumann</SPAN>, selbst ein guter <SPAN class=systran_nfw_source id=nfw_125>Glasharmonikaspieler</SPAN>, sie für die beste lebende Künstlerin auf diesem Instrument und ohne <SPAN class=systran_nfw_source id=nfw_126>Rivalin erklärte.19</SPAN> Im nahen Leipzig konnte sie zweimal (15. 1. und 10. 2. 1792) in den von reisenden Künstlern sehr begehrten „Extrakonzerten" im Gewand&shy;haus auftreten, was auf großen Erfolg <SPAN class=systran_nfw_source id=nfw_127>hindeutet.20</SPAN> Im April 1792 begegnen wir ihr in Berlin, wo sie den König <SPAN class=systran_nfw_source id=nfw_128>Friedrich</SPAN> Wilhelm IL durch ihr Spiel so begeisterte, daß er sie an vier Abenden zum Vorspiel ins Schloß kommen</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_50>und ihr ein Honorar von 100 Fried&shy;richsd'or, für die Zeit ein ansehnliches Geschenk, überweisen ließ.und ihr ein Honorar von 100 Fried&shy;richsd'or, für die Zeit ein ansehnliches Geschenk, überweisen ließ.</SPAN> <SPAN class=systran_seg id=seg_51>Die Reise führte sie dann nach Hamburg, wo sie Ende 1792 spielte und von der Kritik bewundert <SPAN class=systran_nfw_source id=nfw_129>wurde21</SPAN>, nach Kopenhagen und Holland und schließlich nach England, wo damals eben <SPAN class=systran_nfw_source id=nfw_130>Joseph Haydn</SPAN> zum zweitenmal weilte und in den „<SPAN class=systran_nfw_source id=nfw_131>Salomon</SPAN><SUP>c&lt;-Konzerten</SUP> durch die Uraufführungen seiner <SPAN class=systran_nfw_source id=nfw_132>Londoner</SPAN> Sinfonien gefeiert wurde.</SPAN> <SPAN class=systran_seg id=seg_52>Im Sechsten Salomon-Konzert in den Hannover <SPAN class=systran_nfw_source id=nfw_133>Square Rooms debütierte</SPAN> sie am 17. 3. 1794 mit einem nach der Zeit&shy;sitte nicht näher bezeichneten <SPAN class=systran_nfw_source id=nfw_134>Quintett</SPAN>, vermutlich dem 1791 in Wien von Mozart für sie komponierten.</SPAN> <SPAN class=systran_seg id=seg_53>Die englische Kritik rühmte Schönheit und Vollkommenheit ihres Spiels und bedauerte nur die freilich in der Natur des Instruments gelegene geringe Durchschlagskraft und Deutlichkeit der Töne.</SPAN> <SPAN class=systran_seg id=seg_54>Schon im Neunten Salomon-Konzert vom 7. April 1794 ließ sich die Blinde wieder hören, diesmal mit einer <SPAN class=systran_nfw_source id=nfw_135>Sonate</SPAN>, deren Komponist nicht angege&shy;ben <SPAN class=systran_nfw_source id=nfw_136>wird.22</SPAN> Sie könnte eine der von <SPAN class=systran_nfw_source id=nfw_137>Naumann</SPAN>, von J. Eichhorn oder von <SPAN class=systran_nfw_source id=nfw_138>Joseph Schlett</SPAN> für das sentimentale Instrument geschrie&shy;benen gewesen <SPAN class=systran_nfw_source id=nfw_139>sein.22a</SPAN> Vermutlich hat <SPAN class=systran_nfw_source id=nfw_140>Haydn</SPAN>, von dem ja in bei&shy;den Konzerten „Grosse Ouvertüren", also Sinfonien, gespielt wur&shy;den, bei dieser Gelegenheit auch <SPAN class=systran_nfw_source id=nfw_142>Mariane Kirchgessner</SPAN> spielen gehört, wiewohl sein handschriftliches Tagebuch der zweiten eng&shy;lischen Reise davon nichts erwähnt.</SPAN> <SPAN class=systran_seg id=seg_55>Außer in den beiden Salomon-Konzerten hat sie aber auch in eigenen Konzerten gespielt und 1795, ähnlich wie es die Mozart-Kinder 1765 in ihrem Gasthof taten, in ihrer Wohnung in Poland <SPAN class=systran_nfw_source id=nfw_143>Street</SPAN> sich unter der <SPAN class=systran_nfw_source id=nfw_144>Patro&shy;nanz</SPAN> der <SPAN class=systran_nfw_source id=nfw_145>Duchess</SPAN> of <SPAN class=systran_nfw_source id=nfw_146>York</SPAN> zweimal täglich gegen ein <SPAN class=systran_nfw_source id=nfw_147>Entre</SPAN> von 5 <SPAN class=systran_spellcheck id=spellcheck_4>sh</SPAN> hören lassen.23 Während aber im Fall der beiden Mozarts zweifellos ein Absinken ihrer einstigen Popularität und ein Wech&shy;sel der Mode dazu geführt hatten, daß die beiden früher von Adel und <SPAN class=systran_nfw_source id=nfw_148>Gentry umworbenen</SPAN> Kinder zuletzt sich in einem be&shy;scheidenen Gasthof produzieren mußten, um die Aufenthalts&shy;kosten zu <SPAN class=systran_nfw_source id=nfw_149>bestreiten24</SPAN> dürfte man bei <SPAN class=systran_nfw_source id=nfw_150>Mariane Kirchgessner</SPAN> nicht fehl gehen, wenn man annimmt, daß diese für uns befremdenden Privatkonzerte rein kommerziellen Zweck hatten und</SPAN> <SPAN class=systran_seg id=seg_56>die hohen Regien eines öffentlichen, gewöhnlich orchesterbegleiteten Kon&shy;zertes ersparen sollten, zumal <SPAN class=systran_nfw_source id=nfw_151>recitals</SPAN>, <SPAN class=systran_nfw_source id=nfw_152>Solistenkonzerte</SPAN> auf einem Instrument, noch nicht gebräuchlich waren.</SPAN> <SPAN class=systran_seg id=seg_57>Daß diese Erwägun&shy;gen sich bewährten, zeigen die Berichte der <SPAN class=systran_nfw_source id=nfw_153>Quellen25</SPAN>, sie habe in London Reichtümer erworben, die ihr später den Erwerb eines Landsitzes in <SPAN class=systran_nfw_source id=nfw_154>Gohlis</SPAN> bei Leipzig ermöglichten.</SPAN> <SPAN class=systran_seg id=seg_58>Die Blinde hatte ihren Aufenthalt in der Metropole aber auch sonst nicht zu be&shy;dauern und man begreift, daß sie ihn bis 1796 ausdehnte.</SPAN> <SPAN class=systran_seg id=seg_59>Hier fand sie jenen deutschen Mechaniker <SPAN class=systran_nfw_source id=nfw_155>Fröschel</SPAN> (auch <SPAN class=systran_nfw_source id=nfw_156>Fröschle</SPAN>), der ihr entweder eine neue, mit einem Resonanzboden versehene und darum wesentlich <SPAN class=systran_nfw_source id=nfw_157>lautstärkere Glasharmonika</SPAN> baute, oder diese Verbesserung an ihrem bisherigen, aus der Werkstatt <SPAN class=systran_nfw_source id=nfw_159>Schmitt-bauers</SPAN> stammenden Instrument anbrachte.</SPAN> <SPAN class=systran_seg id=seg_60>Dieses <SPAN class=systran_nfw_source id=nfw_160>Fröscheische</SPAN> Instrument hat sie dann immer auf ihren Kunstreisen mit sich ge&shy;führt und bis zu ihrem Ableben <SPAN class=systran_nfw_source id=nfw_161>benutzt.26</SPAN> In London war es auch, daß sie ein Augenarzt Dr. Fiedler — vermutlich gleichfalls ein gebürtiger Deutscher — mit „<SPAN class=systran_spellcheck id=spellcheck_6>Augenwässern</SPAN>" so erfolgreich be&shy;handelte, daß er ihr ohne operativen Eingriff wenigstens einen Lichtschein und die Fähigkeit zurückgeben konnte, die Konturen und Farben von Gegenständen zu <SPAN class=systran_nfw_source id=nfw_162>erkennen.27</SPAN> Ist auch gegenüber solchen Berichten aus der vorwissenschaftlichen Zeit der Medizin Zurückhaltung geboten und besteht auch hier keine einheitliche Auffassung der Ärzte über den Fall, so lag er doch offenbar wesentlich anders als der der Maria <SPAN class=systran_nfw_source id=nfw_163>Theresia</SPAN> <SPAN class=systran_spellcheck id=spellcheck_5>Paradis</SPAN>, der der be&shy;rühmte <SPAN class=systran_nfw_source id=nfw_165>Psychotherapeut</SPAN> Dr. <SPAN class=systran_nfw_source id=nfw_166>Franz Anton Mesmer</SPAN> nicht vermocht hatte durch</SPAN> <SPAN class=systran_seg id=seg_61>seinen „<SPAN class=systran_nfw_source id=nfw_167>animalischen</SPAN> Magnetismus" dauernd das Seh&shy;vermögen zurückzugeben, ein Erfolg der freilich auch dem beschei&shy;denen <SPAN class=systran_nfw_source id=nfw_168>Londoner</SPAN> Arzt versagt blieb.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_62>Im November 1796 befand sie sich schon wieder auf dem Konti&shy;nent und konzertierte erfolgreich in Hamburg.</SPAN> <SPAN class=systran_seg id=seg_63>Ob sie von dort gleich oder erst nach einer längeren Erholungspause über Däne&shy;mark und Norddeutschland nach Rußland weiter reiste, ist nicht sicher feststellbar.</SPAN> <SPAN class=systran_seg id=seg_64>Sollte die Mitteilung des <SPAN class=systran_nfw_source id=nfw_169>Braunschweigischen</SPAN> Magazins Nr. 14 von 1801 zutreffen, daß sie von Hamburg zu&shy;nächst — natürlich zu Konzertzwecken — nach Kopenhagen, von da zurück über Lübeck, <SPAN class=systran_nfw_source id=nfw_170>Mecklenburg</SPAN>, <SPAN class=systran_nfw_source id=nfw_171>Pommern</SPAN>, Ostpreussen, Kurland und Livland reiste, so würde diese bei dem damaligen, in Norddeutschland besonders ungünstigen Zustand der Straßen und Verkehrsmittel sehr beschwerliche und mehrere Wochen dau&shy;ernde Fahrt eine <SPAN class=systran_nfw_source id=nfw_172>Parforceleistung</SPAN> darstellen und es begreiflich machen, daß sie sich sieben Monate in Petersburg aufhielt.</SPAN> <SPAN class=systran_seg id=seg_65>Auch die Rückreise über die baltischen Provinzen Rußlands, Ostpreus-sens, Polen, <SPAN class=systran_nfw_source id=nfw_173>Schlesien</SPAN> und über die Grenzgebirge und die <SPAN class=systran_nfw_source id=nfw_174>Lausitz</SPAN> nach Sachsen war kaum eine geringere Anstrengung, selbst in der guten Jahreszeit.</SPAN> <SPAN class=systran_seg id=seg_66>Mit dieser russischen <SPAN class=systran_nfw_source id=nfw_175>Exkursion</SPAN> hatte aber ihre Reisetätigkeit den Höhepunkt überschritten.</SPAN> <SPAN class=systran_seg id=seg_67>Nach fast zehnjähri&shy;gem Aufenthalt auf den Landstraßen und in den Musikstädten Europas setzte sie sich nun 1799 gemeinsam mit ihren Freunden <SPAN class=systran_nfw_source id=nfw_176>Bossler</SPAN> in dem damaligen <SPAN class=systran_nfw_source id=nfw_177>Dorfe Gohlis</SPAN> (heute eine nördliche Vorstadt von Leipzig) auf einem Landsitz zur Ruhe, den sie aus den englischen <SPAN class=systran_nfw_source id=nfw_179>Ersparnissen28</SPAN> ankaufen konnte.</SPAN> <SPAN class=systran_seg id=seg_68>Während des Reisejahrzehnts hatte sie nicht nur Ruhm, Vermögen und euro&shy;päische Geltung erworben, sondern auch eine Reihe großer Musi&shy;ker der Epoche, wie <SPAN class=systran_nfw_source id=nfw_186>Clementi</SPAN>, <SPAN class=systran_nfw_source id=nfw_180>Fasch</SPAN>, J. <SPAN class=systran_nfw_source id=nfw_181>Haydn</SPAN>, F. Hoffmeister, W. A. Mozart, J. G. <SPAN class=systran_nfw_source id=nfw_182>Naumann</SPAN>, A. <SPAN class=systran_nfw_source id=nfw_183>Salieri</SPAN>, K. F. <SPAN class=systran_nfw_source id=nfw_184>Reichardt</SPAN>, J. <SPAN class=systran_nfw_source id=nfw_185>Van&shy;hall</SPAN> u. a. kennen zu lernen Gelegenheit gehabt, von denen meh&shy;rere für sie Kompositionen schrieben und die Blinde dabei auf dem Klavier <SPAN class=systran_nfw_source id=nfw_187>begleiteten.29</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_69>In den ihrer Niederlassung in <SPAN class=systran_nfw_source id=nfw_188>Gohlis</SPAN> (um 1800) folgenden Jah&shy;ren unternahm sie nur mehr eine Konzertfahrt nach Stuttgart (1802), wo sie am 16. Januar in einem von J. H. <SPAN class=systran_nfw_source id=nfw_189>Zumsteeg</SPAN> ge&shy;leiteten Konzert spielte und noch an einer Akademie zugunsten der Hinterbliebenen dieses am folgenden Tage plötzlich verstor&shy;benen bedeutenden <SPAN class=systran_nfw_source id=nfw_190>Balladenkomponisten</SPAN> teilnahm.</SPAN> <SPAN class=systran_seg id=seg_70>Die Kriegs&shy;ereignisse griffen zweimal in ihr Leben ein.</SPAN> <SPAN class=systran_seg id=seg_71>Zuerst als sie Ende 1805 nach Wien aufbrach, um nach Absolvierung einer Konzert&shy;tätigkeit in der Donaustadt nach Italien weiterzureisen, aber durch den österreichisch-französischen Krieg in Wien einige Monate festgehalten wurde und erst im April ein Konzert geben und an einer Akademie im <SPAN class=systran_nfw_source id=nfw_191>k.k</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_72>Burgtheater mitwirken konnte.</SPAN> <SPAN class=systran_seg id=seg_73>Heim&shy;gekehrt ohne ihre Italienpläne verwirklicht zu haben, erreichte sie der Krieg in ihrer neuen Heimat <SPAN class=systran_nfw_source id=nfw_192>Gohlis</SPAN>, als nach dem für das auf Seite Preussens kämpfende Sachsen unglücklichen Ausgang des Feldzuges von 1806 Husaren, sei es Franzosen oder <SPAN class=systran_nfw_source id=nfw_193>marodierende</SPAN> sächsische Abteilungen, auf ihrem Landsitz erschienen und sie „hart behandelten", also offenbar <SPAN class=systran_nfw_source id=nfw_194>plünderten</SPAN> und sie bedrohten.</SPAN> <SPAN class=systran_seg id=seg_74>Ge&shy;wiß ist es möglich, daß die <SPAN class=systran_nfw_source id=nfw_195>zartbesaitete</SPAN> Frau durch diese rohe Behandlung einen Schock erlitt.</SPAN> <SPAN class=systran_seg id=seg_75>Indessen erholte sie sich bald so&shy;weit, daß sie noch eine neue <SPAN class=systran_nfw_source id=nfw_196>Kunstfahrt30</SPAN> — es sollte ihre letzte werden — vorbereitete, die sie in <SPAN class=systran_nfw_source id=nfw_197>Bosslers</SPAN> Begleitung über Süd&shy;deutschland in die Schweiz führen sollte nach Zürich, <SPAN class=systran_nfw_source id=nfw_198>Luzern</SPAN> und <SPAN class=systran_nfw_source id=nfw_199>Yverdon</SPAN> am <SPAN class=systran_spellcheck id=spellcheck_7>Neuenburger</SPAN> See, wo <SPAN class=systran_nfw_source id=nfw_200>Pestalozzi</SPAN> lebte, den sie, aus&shy;gerüstet mit Empfehlungsbriefen, aufsuchen wollte.</SPAN> <SPAN class=systran_seg id=seg_76>Über diese Reise <SPAN class=systran_nfw_source id=nfw_202>waltete</SPAN> aber ein <SPAN class=systran_nfw_source id=nfw_201>Unstern</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_77>Noch konnte sie am 15. 11. 1808 in Stuttgart, wo sie u. a. ein Solo von <SPAN class=systran_nfw_source id=nfw_203>Antonin Reicha</SPAN> und eine <SPAN class=systran_nfw_source id=nfw_204>Sonate</SPAN> von <SPAN class=systran_nfw_source id=nfw_205>Cherubini</SPAN> vortrug, sowie am 27. 11. 1808 in Tübin&shy;gen <SPAN class=systran_nfw_source id=nfw_206>konzertieren</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_78>Ahnungsvoll spielte sie hier J. S. Bachs <SPAN class=systran_nfw_source id=nfw_207>Choral</SPAN> „Was Gott tut, das ist wohlgetan", denn sie trug schon den Todes&shy;keim in sich.</SPAN> <SPAN class=systran_seg id=seg_79>Bei einer Wagenfahrt zum Besuch ihres in <SPAN class=systran_spellcheck id=spellcheck_8>Oden-heim</SPAN> als badischer Beamter lebenden Bruders, den sie jahrelang nicht mehr gesehen hatte, zog sie sich in einer kalten, <SPAN class=systran_nfw_source id=nfw_209>nebeligen</SPAN> Novembernacht, während sie auf freiem Feld auf die Reparatur eines Wagendefekts warten mußte, eine schwere Erkältung zu, die, anscheinend vernachlässigt, sich verschlimmerte.</SPAN> <SPAN class=systran_seg id=seg_80>Nach dem <SPAN class=systran_nfw_source id=nfw_210>Tübinger</SPAN> Konzert reiste sie bei Schnee und Kälte weiter, kam am 2. 12. 1808 in Schaffhausen an, wo sich aber schon die ersten Anzeichen einer Lungenentzündung einstellten, der die Kunst der Ärzte damals noch nicht gewachsen war.</SPAN> <SPAN class=systran_seg id=seg_81>Nach mehrtägiger Krank&shy;heit, Besserung und Rückfällen erkannte die Kranke selbst den Ernst ihres Zustandes, ließ aus dem Kloster Paradies einen r.</SPAN><SPAN class=systran_seg id=seg_82>-k.</SPAN> <SPAN class=systran_seg id=seg_83>Geistlichen kommen, legte ihm die <SPAN class=systran_nfw_source id=nfw_212>Beichte</SPAN> ab, bat in seinem Garten begraben zu werden und starb, von H. Ph.</SPAN> <SPAN class=systran_seg id=seg_84><SPAN class=systran_nfw_source id=nfw_213>Bossler</SPAN> treu <SPAN class=systran_nfw_source id=nfw_214>umsorgt</SPAN>, am 9. 12. gegen 1/2 9 Uhr abends.</SPAN> <SPAN class=systran_seg id=seg_85>Ihrem Wunsche ge&shy;mäß wurde sie am 13. 12. 1808 unter einem aus Musikliebhabern Schaffhausens bestehenden Trauergeleit am Laienfriedhof des Klosters <SPAN class=systran_nfw_source id=nfw_215>bestattet</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_86>Das Grab ist gleich jenem ihrer Leidens- und Kunstgenossin M. <SPAN class=systran_nfw_source id=nfw_216>Th</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_87><SPAN class=systran_spellcheck id=spellcheck_9>Paradis</SPAN> und dem W. A. Mozarts <SPAN class=systran_nfw_source id=nfw_218>verschol&shy;len</SPAN> — in der Erde <SPAN class=systran_nfw_source id=nfw_219>versunken.31</SPAN> In der Allgemeinen Musikalischen Zeitung erschien im Januar 1809 eine kurze Würdigung und im darauffolgenden Mai aus der Feder H. Ph.</SPAN> <SPAN class=systran_seg id=seg_88><SPAN class=systran_nfw_source id=nfw_220>Bosslers</SPAN> ein <SPAN class=systran_nfw_source id=nfw_221>Nekrolog</SPAN>, der als Fragment einer (nie erschienenen) Lebensbeschreibung ge&shy;dacht war.</SPAN> <SPAN class=systran_seg id=seg_89>Gerber schrieb dann in seinem Neuen historisch bio&shy;graphischem Tonkünstlerlexikon (1813) die erste ausführliche Bio&shy;graphie, auf der im Wesentlichen die aller späteren Lexika des 19.</SPAN> <SPAN class=systran_seg id=seg_90>Jahrhunderts beruhen.</SPAN> <SPAN class=systran_seg id=seg_91>Als Beilage zu Band</SPAN></SPAN><SPAN class=systran_seg id=seg_91> <SPAN style="FONT-SIZE: 9pt"><SPAN class=systran_nfw_source id=nfw_223>XI</SPAN></SPAN> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">der <SPAN class=systran_nfw_source id=nfw_224>AMZ</SPAN> (Sp. 368) veröffentlichte der tschechische Komponist <SPAN class=systran_nfw_source id=nfw_225>Wenzel Tomaschek</SPAN> ein <SPAN class=systran_nfw_source id=nfw_226>fugiertes</SPAN> merkwürdiges Tonstück „<SPAN class=systran_nfw_source id=nfw_227>Fantasie</SPAN> für die Harmonika am Grabe der um dieses Instrument so sehr verdien&shy;ten <SPAN class=systran_nfw_source id=nfw_229>Dlle Kirchgessner</SPAN>", kaum weniger umständlich und <SPAN class=systran_nfw_source id=nfw_230>pedantisch</SPAN> als sein Titel.</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_92>Es ist schon deswegen interessant, weil es eines der wenigen erhaltenen Stücke für das verschollene Instrument ist, aber auch weil es einen Beweis dafür bildet, daß die Erinnerung an die große <SPAN class=systran_nfw_source id=nfw_231>Virtuosin</SPAN> in Prag, wo <SPAN class=systran_nfw_source id=nfw_232>Tomaschek</SPAN> sie bei ihrem Kon&shy;zert 1791 gehört haben mag, noch lebendig war.</SPAN> <SPAN class=systran_seg id=seg_93>Die Männer, die ihr Spiel in bewundernden Worten gepriesen hatten, wie <SPAN class=systran_nfw_source id=nfw_233>Johann</SPAN> G. <SPAN class=systran_nfw_source id=nfw_234>Naumann</SPAN> und Christian D. <SPAN class=systran_nfw_source id=nfw_235>Schubart32</SPAN>, waren schon vor ihr gestorben, ihr treuer Freund und Reisebegleiter H. Ph.</SPAN> <SPAN class=systran_seg id=seg_94><SPAN class=systran_nfw_source id=nfw_236>Bossler</SPAN> folgte ihr schon 1812 im Tode nach.</SPAN> <SPAN class=systran_seg id=seg_95>Und so blieb bald nur die <SPAN class=systran_nfw_source id=nfw_237>papierene</SPAN> Unsterblichkeit der Musiklexika, die ihren Namen auf die Nachwelt brachte.</SPAN> <SPAN class=systran_seg id=seg_96>Es ist, wie das französische Sprichwort sagt:</SPAN> <SPAN class=systran_seg id=seg_97>„<SPAN class=systran_nfw_source id=nfw_238>Quand</SPAN> on <SPAN class=systran_nfw_source id=nfw_239>est mort</SPAN>, <SPAN class=systran_nfw_source id=nfw_240>c'est pour longtemps</SPAN>."</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_98>Wir wissen wenig von ihrem Privatleben und besitzen, so merk&shy;würdig das auch ist, kein Bild ihrer äußeren Erscheinung, obwohl sie an Ruhm gewiß M. <SPAN class=systran_nfw_source id=nfw_241>Th</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_99><SPAN class=systran_spellcheck id=spellcheck_10>Paradis</SPAN> nicht <SPAN class=systran_nfw_source id=nfw_243>nachstand33</SPAN> und zwei&shy;mal in Wien monatelang lebte, wo doch außer namhaften Porträ&shy;tisten auch <SPAN class=systran_nfw_source id=nfw_244>Hieronymus</SPAN> Löschenkohl, der Bildreporter jener Epoche wirkte, der kaum eine Gelegenheit versäumte, interessante Ereignisse und Persönlichkeiten mit seinem Stift <SPAN class=systran_nfw_source id=nfw_246>festzuhalten.34</SPAN> Da sie nie im Mittelpunkt eines weitgehenden Skandals stand, wie M. <SPAN class=systran_nfw_source id=nfw_247>Th</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_100><SPAN class=systran_spellcheck id=spellcheck_11>Paradis</SPAN> durch die mißglückte <SPAN class=systran_nfw_source id=nfw_249>psychotherapeutische</SPAN> Behandlung Dr. F. A. <SPAN class=systran_nfw_source id=nfw_250>Mesmers</SPAN>, befaßten sich auch die Zeitungen der Epoche ebensowenig mit ihrer Person wie nach ihrem Tode die <SPAN class=systran_nfw_source id=nfw_251>Belletristik.35</SPAN> So sind wir auf wenige kurze Notizen angewiesen, vor allem auf die Anzeige ihres Todes in der <SPAN class=systran_nfw_source id=nfw_252>AM2</SPAN> 1809/15 und H. Ph.</SPAN> <SPAN class=systran_seg id=seg_101><SPAN class=systran_nfw_source id=nfw_253>Bosslers Nekrolog</SPAN> vom 10. 5. 1809 in derselben Zeit&shy;schrift, und auch diese geben mehr Details über ihre künstlerische Persönlichkeit, vor allem über ihr <SPAN class=systran_nfw_source id=nfw_254>Harmonikaspiel</SPAN>, ihren musika&shy;lischen Geschmack und ihre Lernmethode als über Charakter, Wesensart und Lebensgewohnheiten.</SPAN> <SPAN class=systran_seg id=seg_102>Trotz einer gelegentlichen, sehr verständlichen Reizbarkeit trug sie ihr schweres Los gefaßt und mit stiller <SPAN class=systran_nfw_source id=nfw_256>Resignation36</SPAN>, war freundlich, gefällig und frei von Künstlerlaunen.</SPAN> <SPAN class=systran_seg id=seg_103>Von ihren außermusikalischen Kenntnissen und Fähigkeiten wissen wir kaum etwas, vor allem nicht, ob sie sprachenkundig war und welches Interesse sie an ihrer Umwelt und den sie umgebenden Lebensverhältnissen nahm, Fragen über die wir im Falle M. <SPAN class=systran_nfw_source id=nfw_257>Th</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_104><SPAN class=systran_spellcheck id=spellcheck_12>Paradis</SPAN> sehr genau unterrichtet sind.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_105>Offenbar beherrschte sie die damals schon existierenden Techniken der Blinden- bzw. Blindennotenschrift nicht und neue Stücke stu&shy;dierte sie, indem sie sich dieselben solange auf dem Klavier vor&shy;spielen ließ, bis sie dank ihrem überdurchschnittlich guten Ge&shy;hör sie auswendig wußte.</SPAN> <SPAN class=systran_seg id=seg_106>Eine Handdruckerei oder Notensetz&shy;maschine, wie Freunde sie für die blinde <SPAN class=systran_spellcheck id=spellcheck_13>Paradis</SPAN> erfanden, die sie rasch beherrschen lernte und benutzte, hat die <SPAN class=systran_nfw_source id=nfw_260>Kirchgessner</SPAN> offenbar nie besessen.</SPAN> <SPAN class=systran_seg id=seg_107>Nur ein Interesse für Literatur ist <SPAN class=systran_nfw_source id=nfw_261>über&shy;liefert37</SPAN>, die sie sich gern vorlesen ließ, freilich ohne daß wir ihren Geschmack in dieser Sparte kennen.</SPAN> <SPAN class=systran_seg id=seg_108>Vor allem aber hat sie ihre große Kunst nie Schülern weiterzugeben versucht, sie nie im päd&shy;agogischen Fache betätigt und auch nie <SPAN class=systran_nfw_source id=nfw_262>komponiert.38</SPAN> Ihre gei&shy;stige Regsamkeit und allgemeine Bildung blieb zweifellos be&shy;trächtlich hinter jener der <SPAN class=systran_spellcheck id=spellcheck_14>Paradis</SPAN> zurück, deren abgerundete, aus&shy;geglichene und sehr aktive Persönlichkeit sie offenkundig nie er&shy;reicht hat.</SPAN> <SPAN class=systran_seg id=seg_109>Das hängt vor allem mit ihrer Herkunft aus bescheide&shy;nen Verhältnissen in einem kleinen süddeutschen Provinzstädt&shy;chen zusammen, unvergleichbar den regen und intensiven Ein&shy;flüssen, die im <SPAN class=systran_nfw_source id=nfw_264>theresianischen</SPAN> und <SPAN class=systran_nfw_source id=nfw_265>josefinischen</SPAN> Wien auf die viel&shy;seitige und fein gebildete Tochter des Hofsekretärs J. A. <SPAN class=systran_spellcheck id=spellcheck_15>Paradis</SPAN> einwirkten.</SPAN> <SPAN class=systran_seg id=seg_110>Sie hatte aber auch nicht das Glück mit Persönlich&shy;keiten wie F. S. <SPAN class=systran_nfw_source id=nfw_267>Greiner</SPAN>, Wolfgang v. <SPAN class=systran_nfw_source id=nfw_268>Kempelen</SPAN>, <SPAN class=systran_nfw_source id=nfw_269>Antonio Salieri</SPAN>, Dr. <SPAN class=systran_nfw_source id=nfw_270>Franz</SPAN> A. <SPAN class=systran_nfw_source id=nfw_271>Mesmer</SPAN> und den vielen <SPAN class=systran_nfw_source id=nfw_272>josefinischen</SPAN> Poeten, wie <SPAN class=systran_nfw_source id=nfw_273>Retzer</SPAN>, <SPAN class=systran_nfw_source id=nfw_274>Alxinger</SPAN>, <SPAN class=systran_nfw_source id=nfw_275>Denis</SPAN> zu verkehren, die ihren Geist bildeten, ihre Intelligenz schärfen konnten.</SPAN> <I><SPAN class=systran_seg id=seg_111>Ein</SPAN></I><SPAN class=systran_seg id=seg_111> Ereignis allerdings enthält ihr zwar bewegtes, aber doch nicht sehr inhaltsreiches Leben, um das sie die <SPAN class=systran_spellcheck id=spellcheck_16>Paradis</SPAN> vielleicht beneidet hätte:</SPAN> <SPAN class=systran_seg id=seg_112>ihre Bekanntschaft mit Goethe.</SPAN> <SPAN class=systran_seg id=seg_113>Die Tagebücher des <SPAN class=systran_nfw_source id=nfw_277>Olympiers39</SPAN> beschäftigen sich an zwei Stellen mit der <SPAN class=systran_nfw_source id=nfw_278>Kirchgessner</SPAN>, die er am 29. 6. und 28. 7. 1808 während eines Badeaufenthaltes in Karlsbad besuchte.</SPAN> <SPAN class=systran_seg id=seg_114>Am 29. 6. spielte sie ihrem <SPAN class=systran_nfw_source id=nfw_279>illustren</SPAN> Gast einiges auf der Harmonika vor, am 28. 7. speiste er bei ihr.</SPAN> <SPAN class=systran_seg id=seg_115>Ob und auf welche Art die Be&shy;kanntschaft begründet wurde, ist nicht bekannt, da diese beiden Notizen die einzigen (mir bekannt gewordenen) sind, in denen der Name der <SPAN class=systran_nfw_source id=nfw_281>Kirchgessner</SPAN> genannt wird.</SPAN> <SPAN class=systran_seg id=seg_116>Goethes universelles Interesse an seiner Umwelt in ihren hervorragenden <SPAN class=systran_nfw_source id=nfw_282>Erscheinungen40</SPAN>, das ihn besonders in den <SPAN class=systran_nfw_source id=nfw_283>böhmischen</SPAN> Bädern, wo er von Staatsgeschäften befreit war, mit wichtigen oder auch nur anzie&shy;henden Persönlichkeiten Fühlung aufnehmen ließ, mag ihn be&shy;wogen haben, die berühmte Harmonika <SPAN class=systran_nfw_source id=nfw_285>virtuosin</SPAN> kennen zu ler&shy;nen, die gleichzeitig mit ihm den Weltkurort aufgesucht hatte.</SPAN> <SPAN class=systran_seg id=seg_117>Leider wissen wir nicht, wie Goethe sich über die Blinde äußerte und inwieweit er von ihrer Person und ihrem Spiel beeindruckt war.</SPAN> <SPAN class=systran_seg id=seg_118>Wenn das oft zitierte, leider bisher quellenmäßig nicht be&shy;legbare <SPAN class=systran_nfw_source id=nfw_286>Wort41</SPAN>, er höre aus den gehaltenen Akkorden der Harmo&shy;nika das Herzblut der Welt, wirklich von Goethe stammt, so mag es bei einer solchen Gelegenheit gefallen sein, wiewohl es weder in seinen Briefen noch in seinen Unterhaltungen vermerkt ist.</SPAN> <SPAN class=systran_seg id=seg_119>Vielleicht ist <SPAN class=systran_nfw_source id=nfw_288>Mariane Kirchgessner</SPAN> zur rechten Zeit gestor&shy;ben, um nicht mehr den im folgenden Jahrzehnt einsetzenden und um 1830 vollzogenen Untergang ihres umstrittenen, von einer ganzen Epoche europäischen Geisteslebens <SPAN class=systran_nfw_source id=nfw_289>angeschwärmten</SPAN>, spä&shy;ter als dünn, dürftig und tonarm bezeichneten Instruments zu erleben, das von schlichteren, billigeren und leichter zu handhaben&shy;den Instrumenten, vor allem vom Harmonium und der Mund&shy;harmonika, verdrängt wurde.</SPAN> <SPAN class=systran_seg id=seg_120>Ihr eigenes kostbares Instrument ist ebenso <SPAN class=systran_nfw_source id=nfw_291>verschollen</SPAN>, wie jenes, das Dr. <SPAN class=systran_nfw_source id=nfw_292>Franz</SPAN> A. <SPAN class=systran_nfw_source id=nfw_293>Mesmer</SPAN> durch alle Stürme seines Lebens bis nach seinem Sterbeort Meersburg rettete.</SPAN> <SPAN class=systran_seg id=seg_121>Vermutlich teilte es das Los der meisten dieser kostbar-gebrech&shy;lichen Instrumente, langsam zerbrochen zu werden, und in einer <SPAN class=systran_nfw_source id=nfw_294>Rumpelkammer</SPAN> für immer zu verschwinden.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_122>Wien bedeutet im Leben der <SPAN class=systran_nfw_source id=nfw_295>Kirchgessner</SPAN> eine wichtige Sta&shy;tion:</SPAN> <SPAN class=systran_seg id=seg_123>ohne ihre sensationellen Erfolge von 1791, ohne das Inter&shy;esse W. A. Mozarts, der für sie das wertvollste und berühmteste Stück für <SPAN class=systran_nfw_source id=nfw_296>Glasharmonika</SPAN> schrieb, hätte ihre west- und nord&shy;europäische Kunstreise kaum den durchschlagenden Erfolg erzielt, der sie zur Berühmtheit führte.</SPAN> <SPAN class=systran_seg id=seg_124>Und ihre letzte große Fahrt führte sie wieder an die Donau und zu neuen Triumphen.</SPAN> <SPAN class=systran_seg id=seg_125>Das unent&shy;wickelte Pressewesen jener Zeit, die fehlende Publicity und Wiens damalige Rückständigkeit auf dem Gebiet der Kulturkritik und der Fachpresse erlauben nicht, das große Publikumsinteresse scharf zu erkennen, das sie erweckte.Das unent&shy;wickelte Pressewesen jener Zeit, die fehlende Publicity und Wiens damalige Rückständigkeit auf dem Gebiet der Kulturkritik und der Fachpresse erlauben nicht, das große Publikumsinteresse scharf zu erkennen, das sie erweckte.</SPAN> <SPAN class=systran_seg id=seg_126>Aber deutlich spricht es aus den</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_127>bekannten Eipeldauer-Briefen, diesem Echo der öffentlichen Mei&shy;nung Wiens, wenn sie <SPAN class=systran_nfw_source id=nfw_297>sagen42</SPAN>:</SPAN> <SPAN class=systran_seg id=seg_128>„Da hat sich eine berühmte <SPAN class=systran_nfw_source id=nfw_298>Har&shy;monikaspielerin</SPAN> hören lassen und da hat gar eine beliebte Schau&shy;spielerin (<SPAN class=systran_nfw_source id=nfw_299>Mme</SPAN> Rose) dazu <SPAN class=systran_nfw_source id=nfw_300>deklamiert</SPAN>, und da haben wir ein wahres harmonisches Glockenspiel gehört."</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_129>So dachte Wiens Volk über die größte <SPAN class=systran_nfw_source id=nfw_301>Harmonikaspielerin</SPAN> ihrer — vielleicht aller — Zeiten, und so verdient sie, der Ver&shy;gessenheit <SPAN class=systran_nfw_source id=nfw_302>entrissen</SPAN> zu werden.</SPAN></SPAN> <o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_130>IL Abschnitt</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_131>DIE <SPAN class=systran_nfw_source id=nfw_303>GLASHARMONIKA</SPAN> Roman eines Instruments</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 8pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_132>„Die Wirkung des Instru&shy;ments grenzt ans Fabelhafte und es ist wahrscheinlich, daß wenn es wieder ver&shy;loren gehen sollte, die Er&shy;zählung davon für die Zu&shy;kunft das sein würde, was die Geschichte von der Leier des <SPAN class=systran_nfw_source id=nfw_304>Orpheus</SPAN> für uns ist".</SPAN> <SPAN class=systran_seg id=seg_133>K. L. <SPAN class=systran_nfw_source id=nfw_305>Röllig</SPAN>, Über die <SPAN class=systran_nfw_source id=nfw_306>Glas&shy;harmonika</SPAN>, ein Fragment.</SPAN> <SPAN class=systran_seg id=seg_134>Berlin.</SPAN> 1787.</SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_136>Nur noch in einzelnen, meist schadhaften und <SPAN class=systran_nfw_source id=nfw_307>unspielbaren</SPAN> Exemplaren <SPAN class=systran_nfw_source id=nfw_308>fristet</SPAN> dieses merkwürdige und viel bewunderte In&shy;strument der empfindsamen Zeit, das von den Zeitgenossen — vor Erfindung der Mundharmonika und des Harmoniums — schlecht&shy;hin „Harmonika" genannt wurde, ein <SPAN class=systran_nfw_source id=nfw_311>museales</SPAN> Dasein.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_137>Sein Vorläufer, das vermutlich aus China stammende, über den mittleren und vorderen <SPAN class=systran_nfw_source id=nfw_312>Orient</SPAN> nach Europa gelangte „Gläser&shy;spiel" (<SPAN class=systran_nfw_source id=nfw_313>verillon</SPAN>, musical <SPAN class=systran_nfw_source id=nfw_314>glasses</SPAN>) erfreute sich vor allem im Eng&shy;land des 18.</SPAN> <SPAN class=systran_seg id=seg_138>Jahrhunderts großer <SPAN class=systran_nfw_source id=nfw_315>Beliebtheit1</SPAN>, und <SPAN class=systran_nfw_source id=nfw_316>Virtuosen</SPAN>, wie der Ire <SPAN class=systran_spellcheck id=spellcheck_17>Richard</SPAN> <SPAN class=systran_nfw_source id=nfw_317>Puckeridge</SPAN>, dessen Schülerin <SPAN class=systran_nfw_source id=nfw_318>Ann</SPAN> Ford und E. H. <SPAN class=systran_nfw_source id=nfw_319>Delaval</SPAN>, vermochten auf den wassergefüllten, verschieden großen Gläsern durch Anschlagen mit einem <SPAN class=systran_nfw_source id=nfw_322>Stöckchen</SPAN> oder Reiben mit den Fingerspitzen zu <SPAN class=systran_nfw_source id=nfw_320>konzertieren</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_139><SPAN class=systran_spellcheck id=spellcheck_18>Gluck</SPAN> hatte sich in London und Kopenhagen auf den musical <SPAN class=systran_nfw_source id=nfw_323>glasses</SPAN> öffentlich hören lassen, und <SPAN class=systran_nfw_source id=nfw_324>Benjamin Franklin</SPAN> (1706—1790), der berühmte Physiker und Staatsmann, der 1756 in Staatsgeschäften nach London ge&shy;kommen war und <SPAN class=systran_nfw_source id=nfw_325>Puckeridge</SPAN> gehört hatte, empfing hier die An&shy;regung zu Experimenten, die das primitive Gläserspiel verbes&shy;sern und seinen musikalischen Wert wesentlich erhöhen sollten.</SPAN> <SPAN class=systran_seg id=seg_140>In mehrjährigen Versuchen entwickelte <SPAN class=systran_nfw_source id=nfw_326>Franklin</SPAN> um 1762 — viel&shy;leicht schon 1761 — aus den musical <SPAN class=systran_nfw_source id=nfw_327>glasses</SPAN> die neue <SPAN class=systran_nfw_source id=nfw_328>Glasharmo&shy;nika2</SPAN>, indem er an Stelle der einzelnen Gläser, deren Stimmung sich durch Verdunsten oder Verschütten ihrer Wasserfüllung leicht änderte, ein rotierendes Friktionsinstrument setzte, „um die Glä&shy;ser passender und näher zusammenzustellen, eine größere Zahl von Tönen hervorbringen zu können und das Ganze für den vor dem Instrument sitzenden Spieler bequemer einzurichten".</SPAN><SUP><SPAN class=systran_seg id=seg_141>3</SPAN></SUP><SPAN class=systran_seg id=seg_141> An Stelle der Gläser setzte er Glasschalen (Kalotten), die ihre Stimmung dauernd <SPAN class=systran_nfw_source id=nfw_330>beibehielten4</SPAN> und auf einer in zwei Lagern ruhenden Achse nach Größe so ineinander verschachtelt aufge&shy;reiht wurden, daß sie einander nicht berührten, sondern bis auf einen fingerbreiten Rand verdeckten.</SPAN> <SPAN class=systran_seg id=seg_142>Mit diesem Rand ragte je&shy;weils die nächstkleinere Schale aus der vor sie <SPAN class=systran_nfw_source id=nfw_331>gereihten</SPAN> größeren</SPAN></SPAN><SPAN class=systran_seg id=seg_142> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">(und tieferen) hervor, so daß ein kegelförmiges Gebilde ent&shy;stand, das <SPAN class=systran_nfw_source id=nfw_332>Franklin</SPAN> in ein verschließbares sekretärartiges Behält&shy;nis einbaute.</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_143>Ein an der Welle befestigtes Schwungrad stand durch eine Schnur mit einem pedalartigen Trittbrett in Verbindung, durch dessen Betätigung der Glaskegel in der Richtung vom Spie&shy;ler weg in Umlauf versetzt wurde.</SPAN> <SPAN class=systran_seg id=seg_144>Der vor dem Instrument sitzende Spieler reibt nun mit den befeuchteten Fingerspitzen die rotierenden Glasschalen und erzeugt dadurch den Ton, dessen Stärke und Qualität er durch Vermehrung oder Verminderung des Druckes, aber auch durch Änderung der Umlaufgeschwindig&shy;keit des Glaskegels bis zu einem gewissen Grade modifizieren <SPAN class=systran_nfw_source id=nfw_334>kann.5</SPAN> Zur leichteren Orientierung des Spielers auf dem zunächst nur mit 24 Glasschalen und einem Umfang von g—g" ausgestat&shy;teten Instrument versah <SPAN class=systran_nfw_source id=nfw_335>Franklin</SPAN> die <SPAN class=systran_nfw_source id=nfw_336>diatonischen</SPAN> Schalen mit einem Anstrich in den Farben des Sonnenspektrums, die chromati&shy;schen mit einem weißen <SPAN class=systran_nfw_source id=nfw_339>Rand.6</SPAN> K. L. <SPAN class=systran_nfw_source id=nfw_337>Röllig</SPAN>, der sich zwei Jahr&shy;zehnte später intensiv mit der Verbesserung der <SPAN class=systran_nfw_source id=nfw_338>Glasharmonika</SPAN> befaßte, beseitigte den Farbanstrich, weil er ihn als der Tonquali&shy;tät nachteilig ansah, und belegte</SPAN> <SPAN class=systran_seg id=seg_145>nur die Halbtöne, die den schwar&shy;zen Klaviertasten entsprachen, mit goldenen Streifen.</SPAN> <SPAN class=systran_seg id=seg_146><SPAN class=systran_nfw_source id=nfw_340>Franklin</SPAN>, der selbst das neue Instrument sehr gut spielte, schenkte es der Engländerin <SPAN class=systran_nfw_source id=nfw_341>Marianne Davies7</SPAN>, die bald eine anerkannte <SPAN class=systran_nfw_source id=nfw_342>Virtuo&shy;sin wurd</SPAN> und die Harmonika auf dem Kontinent (Paris 1765, Wien 1773) mit großem Erfolg öffentlich vorführte, während in England selbst das Gläserspiel sich weiterhin behauptete, ja so&shy;gar das jüngere Instrument überdauerte.</SPAN> <SPAN class=systran_seg id=seg_147>Bald wurde der Um&shy;fang der <SPAN class=systran_nfw_source id=nfw_344>Glasharmonika</SPAN> erweitert, zuerst von <SPAN class=systran_nfw_source id=nfw_345>Joseph Alois Schmittbauer</SPAN> in Karlsruhe, der sie mit besonders ausgewählten Kristallgläsern ausstattete und den Umfang auf c—f''', später so&shy;gar c'''' ausdehnte.</SPAN> <SPAN class=systran_seg id=seg_148>Von wem eine wichtige Verbesserung, näm&shy;lich die Befestigung eines Wasserbehälters unterhalb des Glas&shy;kegels herrührt, den die Glasschalen bei jeder Umdrehung pas&shy;sieren und so schon befeuchtet zu den Fingerspitzen des Spielers gelangen, ist nicht <SPAN class=systran_nfw_source id=nfw_347>bekannt.8 Franklins</SPAN> Instrument besaß also ent&shy;gegen anderen Berichten schon eine chromatische Skala, war aber wegen der mit jeder Umfangserweiterung größer werdenden Zahl</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><B><I><SPAN style="FONT-SIZE: 11pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_149>Berlin 1787.</SPAN></SPAN></I></B><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><B><I><SPAN style="FONT-SIZE: 7pt; FONT-FAMILY: Arial; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_150>-<SPAN class=systran_nfw_source id=nfw_348>jnasrr</SPAN></SPAN></SPAN></I></B><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
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<DIV class=Section3>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_151>von Kalotten gewiß nicht leicht zu spielen.</SPAN> <SPAN class=systran_seg id=seg_152>Die Erfindung des Belgiers <SPAN class=systran_nfw_source id=nfw_350>Joseph Deudon</SPAN> (Paris 1786), der zwischen Fingern und Glasschalen befeuchtete Tuchstreifen anbrachte, welche die Benet&shy;zung der Fingerkuppen entbehrlich machten, aber auch eine Ver&shy;schiebung (Transporteur) einbaute, welche es möglich machen sollte, auch in Kreuz- und <SPAN class=systran_nfw_source id=nfw_353>B-Tonarten</SPAN> leicht zu spielen, scheint sich nicht bewährt zu <SPAN class=systran_nfw_source id=nfw_354>haben.9</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_153>In dieser Gestalt war das Instrument für langsame Tempi, ge&shy;haltene Akkorde und Stücke ohne starke Modulation durchaus geeignet, weniger dagegen für rasche Stücke, für Läufe, Manie&shy;ren, Triller und vom Klavier übernommene Passagen.</SPAN> <SPAN class=systran_seg id=seg_154>Meister der Harmonika wie <SPAN class=systran_nfw_source id=nfw_356>Joseph</SPAN> Ph.</SPAN> <SPAN class=systran_seg id=seg_155><SPAN class=systran_nfw_source id=nfw_357>Frick</SPAN>, <SPAN class=systran_nfw_source id=nfw_358>Marianne Davies</SPAN> und spä&shy;ter <SPAN class=systran_nfw_source id=nfw_359>Mariane Kirchgessner</SPAN> vermochten jedoch diese Schwierig&shy;keiten zu meistern und auch das Akkordspiel beherrschten sie vollkommen.</SPAN> <SPAN class=systran_seg id=seg_156>Mehr als bei anderen Instrumenten hing aber hier Ausführbarkeit und Klangschönheit sowohl vom Können des Spielers, wie von der Qualität des verwendeten Instruments <SPAN class=systran_nfw_source id=nfw_360>ab.10</SPAN> Wie war nun der Klang dieses ungewöhnlichen Instrumentes, das von den einen als ätherisch, Sphärenhaft, entmaterialisiert ge&shy;rühmt, von anderen dürftig, sentimental und nervenaufreizend genannt wird, das manchen Polizeibehörden als so gefährlich galt, daß es kurzerhand verboten wurde?</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_157>Noch bewahren die Museen europäischer und amerikanischer Städte einzelne Exemplare, doch ist ihre geringe Zahl durch den zweiten Weltkrieg und seine Begleiterscheinungen neuerdings stark vermindert worden.</SPAN> <SPAN class=systran_seg id=seg_158>Nur sehr wenige sind noch spielbar und noch seltener findet sich ein Fachmann, der auf ihnen zu spielen <SPAN class=systran_nfw_source id=nfw_361>weiß.11</SPAN> Wir müssen darum die Berichte der Zeitgenossen prüfen, die das Instrument noch in seiner Glanzzeit hören konnten.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_159>Eine Begrenzung seiner Klangwirkung ergab sich schon daraus, daß es keine Baßtöne besaß und — so verschieden die einzelnen <SPAN class=systran_nfw_source id=nfw_362>Harmonikabauer</SPAN> auch seinen Umfang ansetzten — selten unter f, ausnahmsweise bis c hinabreichte, dafür aber viele hohe Ober&shy;töne aufwies.</SPAN> <SPAN class=systran_seg id=seg_160>Die <SPAN class=systran_nfw_source id=nfw_363>Sext</SPAN> war meist die äußerste erreichbare Span&shy;nung, und kleine <SPAN class=systran_nfw_source id=nfw_364>Septen</SPAN> von der ungestrichenen in die einge&shy;strichene Oktave waren ihrer unbequemen Lage wegen schwer zu</SPAN></SPAN><SPAN class=systran_seg id=seg_160> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_nfw_source id=nfw_366>spielen.12</SPAN> Auch die Ausführung von Triolen begegnete Schwierig&shy;keiten, ebenso Akkorde in der weiten Lage, obwohl gerade diese dem Charakter der Harmonika besonders angemessen waren.</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_161>Ein Standardwerk wie Mozarts <SPAN class=systran_nfw_source id=nfw_369>Quintett KV</SPAN> 617 ist so reich an sol&shy;chen und anderen technischen Schwierigkeiten, daß die Meinung entstehen <SPAN class=systran_nfw_source id=nfw_370>konnte13</SPAN>, die <SPAN class=systran_nfw_source id=nfw_371>Kirchgessner</SPAN> habe sich, um es vortragen zu können, einer (damals schon bekannten und gewerbsmäßig hergestellten) Tasten-(Klavier-)Harmonika bedient.</SPAN> <SPAN class=systran_seg id=seg_162>Allein abge&shy;sehen davon, daß Mozart, der ja 1773 das Instrument im Hause Dr. F. A. <SPAN class=systran_nfw_source id=nfw_373>Mesmers</SPAN> kennen gelernt und auf ihm gespielt hatte, niemals einem <SPAN class=systran_nfw_source id=nfw_375>Virtuosen</SPAN> schlechterdings Unausführbares zugemu&shy;tet hat, und selbst der Kritiker der <SPAN class=systran_nfw_source id=nfw_376>AM2</SPAN> einräumt, der Part sei, wenngleich nicht leicht, so doch gut zu <SPAN class=systran_nfw_source id=nfw_377>exekutieren</SPAN> und es wären höchstens einige nicht gut liegende Stellen umzuschreiben, besit&shy;zen wir ein unverdächtiges Zeugnis dafür, daß die <SPAN class=systran_nfw_source id=nfw_378>Kirchgessner</SPAN> nie sich einer <SPAN class=systran_nfw_source id=nfw_379>Tastenharmonika</SPAN> bediente, weil ihr deren Ton-gebung und Tonfarbe nicht <SPAN class=systran_nfw_source id=nfw_381>zusagten.14</SPAN> Sie blieb vielmehr zeit&shy;lebens dem <SPAN class=systran_nfw_source id=nfw_382>Schmittbauerschen</SPAN>, nach B. <SPAN class=systran_nfw_source id=nfw_383>Franklin</SPAN> konstruierten In&shy;strument treu, und ersetzte es in London bloß durch das vom Mechaniker <SPAN class=systran_nfw_source id=nfw_384>Fröschel</SPAN> für sie erbaute Instrument mit</SPAN> <SPAN class=systran_seg id=seg_163>eingebautem Resonanzboden, der die Klangstärke wesentlich erhöhte, aber sonst die alte Type festhielt.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_164>Mit Ausdrücken wie „sphärenhaft, „ätherisch", „Sirenenklänge" ist freilich dem, der das Instrument nicht kennt und auch nur wenig Aussicht hat eine alte <SPAN class=systran_nfw_source id=nfw_385>Glasharmonika</SPAN> der Zeit zwischen 1770 und 1830 zu hören, wenig geholfen, und auch die Charakte&shy;risierung, sein Klang sei mit keinem anderen, auch nicht dem des <SPAN class=systran_nfw_source id=nfw_386>Claviers</SPAN> (<SPAN class=systran_nfw_source id=nfw_387>Clavichords</SPAN>) vergleichbar und durch dieses nie zu er&shy;setzen, bringt uns ebensowenig einer präzisen Klangvorstellung näher, wie K. F. <SPAN class=systran_nfw_source id=nfw_389>Cramers Eulogie</SPAN>, die Harmonika sei „ein un&shy;beschreiblich schönes Instrument, das an Süße und Zartheit des Tones selbst die menschliche Stimme übertreffe" oder K. L. <SPAN class=systran_nfw_source id=nfw_392>Röl&shy;ligs</SPAN>, des Erfinders der <SPAN class=systran_nfw_source id=nfw_393>Tastenharmonika</SPAN>,</SPAN> <SPAN class=systran_seg id=seg_165>Urteil, sie sei „das schönste und angenehmste aller Instrumente, das je Menschen be&shy;saßen, das selbst hochgespannte Erwartungen übertreffe und des&shy;sen Wirkungen ans Fabelhafte grenze".</SPAN><SUP><SPAN class=systran_seg id=seg_166>15</SPAN></SUP><SPAN class=systran_seg id=seg_166> Aber er räumt doch ein,</SPAN></SPAN> <v:shape id=_x0000_i1027 style="WIDTH: 297.75pt; HEIGHT: 192.75pt" type = "#_x0000_t75" coordsize = "21600,21600"><v:imagedata o:title="" src = "./stp89A_files/image005.jpg"></v:imagedata></v:shape><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 20pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_167><SPAN class=systran_nfw_source id=nfw_394>Franz</SPAN></SPAN></SPAN></I><I><SPAN class=systran_seg id=seg_167> <SPAN style="FONT-SIZE: 20pt">Konrad <SPAN class=systran_nfw_source id=nfw_395>Bartl</SPAN></SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 11pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_168>auf &nbsp;</SPAN></SPAN></I><I><SPAN class=systran_seg id=seg_168><SPAN style="FONT-SIZE: 11pt">dem</SPAN></SPAN></I><SPAN style="FONT-SIZE: 11pt; mso-ansi-language: DE">| <I><SPAN class=systran_seg id=seg_170><SPAN class=systran_nfw_source id=nfw_396>t.t.mi</SPAN></SPAN></I><SPAN class=systran_seg id=seg_170> <SPAN class=systran_spellcheck id=spellcheck_19>fc</SPAN> <I>ig <SPAN class=systran_nfw_source id=nfw_397>cdum</SPAN></I><SPAN class=systran_nfw_source id=nfw_397> <SPAN style="TEXT-TRANSFORM: uppercase">iu</SPAN> <I>Slttmte</I></SPAN><I>.</I></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 5pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_171><SPAN class=systran_nfw_source id=nfw_398>I.SniäU</SPAN> l)cC,</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 11pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_172>9mt</SPAN>&nbsp;&nbsp; <I><SPAN class=systran_seg id=seg_173>f</SPAN>&nbsp;&nbsp;</I> <SPAN class=systran_seg id=seg_174><SPAN class=systran_nfw_source id=nfw_399>c£xFfertafefK</SPAN>.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><B><I><SPAN style="FONT-SIZE: 5pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_175><SPAN class=systran_nfw_source id=nfw_400>IG.Pekoriuj.Jc Bitin</SPAN>,</SPAN></SPAN></I></B><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_176><SPAN class=systran_nfw_source id=nfw_401>Sm</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_177>-<SPAN class=systran_nfw_source id=nfw_402>ihrloßt</SPAN>&nbsp; oft}</SPAN></SPAN></I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_177> 4es&gt;i&gt;cl(&gt; <I><SPAN class=systran_nfw_source id=nfw_403>cöaLlcr c£mtft</SPAN></I></SPAN><I>&nbsp;&nbsp;&nbsp; <SPAN class=systran_seg id=seg_178><SPAN class=systran_nfw_source id=nfw_404>unb</SPAN></SPAN>&nbsp;&nbsp;&nbsp;</I> <SPAN class=systran_seg id=seg_179><SPAN class=systran_nfw_source id=nfw_405>^Öucljjjättbfer</SPAN></SPAN></SPAN><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
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<DIV class=Section4>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_180>daß seine Wirkung von der gespielten Komposition, aber auch von Stimmung, Temperatur und Vortrag abhänge und darum nicht immer gleich sei.</SPAN> <SPAN class=systran_seg id=seg_181>Auch wird öfter betont, die Klangwirkung er&shy;müde den Hörer nach kurzer Zeit und stumpfe ihn <SPAN class=systran_nfw_source id=nfw_406>ab.16</SPAN> Der große Vorteil des <SPAN class=systran_nfw_source id=nfw_407>Franklinschen</SPAN> Instrumentes, daß die den Glasschalen einmal beim Schleifen gegebene Stimmung anhalte, wird mit Recht als ein Hauptvorzug gerühmt.</SPAN> <SPAN class=systran_seg id=seg_182>Näher kommen wir aber einer konkreten Vorstellung, wenn der Klang in der Höhe mit dem einer Flöte, in der Tiefe mit dem einer Gambe verglichen wird.17 Bemerkenswert bleibt, daß lange nach dem Ablaufen der empfindsamen Woge Beethoven die Harmonika noch 1815 in seiner Schauspielmusik zu Friedrich Bunckers Drama „Leonore Prohaska" verwendete und daß R. Strauss ihr, wiewohl nur akkordisch und stimmungsbildend, einen Platz in seiner Oper „Die Frau ohne Schatten" einräumte.18Näher kommen wir aber einer konkreten Vorstellung, wenn der Klang in der Höhe mit dem einer Flöte, in der Tiefe mit dem einer Gambe verglichen wird.17 Bemerkenswert bleibt, daß lange nach dem Ablaufen der empfindsamen Woge Beethoven die Harmonika noch 1815 in seiner Schauspielmusik zu Friedrich Bunckers Drama „Leonore Prohaska" verwendete und daß R. Strauss ihr, wiewohl nur akkordisch und stimmungsbildend, einen Platz in seiner Oper „Die Frau ohne Schatten" einräumte.18</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_183>Goethes Ausspruch über das Instrument, das er von Mariane Kirchgessner in Karlsbad, vielleicht schon in Leipzig durch die damals als Virtuosin bekannte Friederike Bause gespielt hörte19, wurde schon angeführt.Goethes Ausspruch über das Instrument, das er von Mariane Kirchgessner in Karlsbad, vielleicht schon in Leipzig durch die damals als Virtuosin bekannte Friederike Bause gespielt hörte19, wurde schon angeführt.</SPAN> <SPAN class=systran_seg id=seg_184><SPAN class=systran_nfw_source id=nfw_408>Schiller</SPAN> meinte nüchterner, seine Wirkung „könne in gewissen Situationen mächtig werden, er verspreche sich hohe Inspiration von ihm".</SPAN> <SPAN class=systran_seg id=seg_185>Daß die eigentlichen Vertreter der empfindsamen Zeit in der Literatur, Christian D. Schubart und Jean <SPAN class=systran_nfw_source id=nfw_409>Paul20</SPAN>, in Ausdrücken höchsten <SPAN class=systran_nfw_source id=nfw_410>Entzückens</SPAN> sich <SPAN class=systran_nfw_source id=nfw_411>schwärme&shy;risch</SPAN> über die Harmonika aussprachen, ist selbstverständlich, und Jean <SPAN class=systran_nfw_source id=nfw_413>Paul</SPAN> setzte ihren Klang immer wieder dem der <SPAN class=systran_spellcheck id=spellcheck_21><SPAN class=systran_spellcheck id=spellcheck_20>Äolsharfe</SPAN></SPAN> gleich.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_186>Freilich konnten sich auch die Zeitgenossen den ernsten Gefah&shy;ren nicht verschließen, die der <SPAN class=systran_nfw_source id=nfw_414>Harmonikaklang</SPAN> für den Hörer, vor allem aber den Spieler heraufbeschwor und der in manchen deutschen Städten zum polizeilichen Verbot des Instrumentes <SPAN class=systran_nfw_source id=nfw_415>führte.21</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_187>Mit wenigen Ausnahmen erachteten die Musiker und Musik-schriftsteller des 18. und noch des 19.</SPAN> <SPAN class=systran_seg id=seg_188>Jahrhunderts, ja sogar — retrospektiv — Autoren unserer Zeit, den <SPAN class=systran_nfw_source id=nfw_416>Harmonikaklang</SPAN> so&shy;wohl wegen seiner vielen hohen Obertöne, als vor allem wegen der aus den bestrichenen Glasschalen in die Fingerspitzen, die empfindlichsten Punkte des Tastgefühls, strömenden Schwingun&shy;gen für nerven schädlich, weil durch sie Erschütterungen des Ner&shy;vensystems ausgelöst werden, die vor allem bei leidenschaftli&shy;chem, unvorsichtigem Spiel zu nervösen Krankheiten führen.</SPAN> <SPAN class=systran_seg id=seg_189><SPAN class=systran_nfw_source id=nfw_417>Vir&shy;tuosen</SPAN> wie Ph.</SPAN> <SPAN class=systran_seg id=seg_190><SPAN class=systran_nfw_source id=nfw_418>Frick</SPAN>, <SPAN class=systran_nfw_source id=nfw_419>Marianne Davies</SPAN> und K. L. <SPAN class=systran_nfw_source id=nfw_420>Röllig</SPAN> (der seine Erkrankung ausführlich beschreibt) hätten darum das Spiel auf der Harmonika aufgeben <SPAN class=systran_nfw_source id=nfw_422>müssen.22</SPAN> Allerdings widersprechen zwei angesehene Musikschriftsteller entschieden diese <SPAN class=systran_nfw_source id=nfw_423>These20</SPAN> und ein Psychiater von internationalem Ruf bestreitet ebenfalls eine generelle Schädlichkeit des Instruments.</SPAN> <SPAN class=systran_seg id=seg_191>Er räumt aber ein, daß überempfindliche Personen, die mit ihm in Berührung kommen, ihre eigene Problematik in diese Begegnung legen und darum mit verschiedenartigen, in ihrer Persönlichkeit gelegenen Symptomen <SPAN class=systran_nfw_source id=nfw_424>reagieren.24</SPAN> Auch in dieser ins Grenzgebiet zwischen Musik und Medizin gehörenden Frage muß die Entscheidung offen bleiben.</SPAN> <SPAN class=systran_seg id=seg_192>Immerhin führte die herrschende Auffassung von der Nerven&shy;gefährlichkeit der Harmonika zu Versuchen, die Fingerspitzen&shy;reibung auszuschalten und durch einen <SPAN class=systran_nfw_source id=nfw_427>Mechanismus-Violinbogen</SPAN> bei der <SPAN class=systran_nfw_source id=nfw_428>Bogenharmonika</SPAN> des <SPAN class=systran_nfw_source id=nfw_429>Abbate Mazzuchi25</SPAN>, oder Einbau einer Klaviatur, deren Tasten Tangenten betätigten, an denen auf <SPAN class=systran_nfw_source id=nfw_430>Roßhaarpolstern</SPAN> feuchte Schwamm- oder Tuchstücke befestigt waren — den Ton zu <SPAN class=systran_nfw_source id=nfw_432>produzieren.26</SPAN> Diese Klaviatur hatte schon <SPAN class=systran_nfw_source id=nfw_431>Frick</SPAN> 1769, freilich erfolglos, angebracht, bis in den 1780er Jah&shy;ren an mehreren Orten fast gleichzeitig Instrumentenbauer die technische Seite des Problems mit gewissen Differenzierungen — eine oder drei Wellen, auf denen mit verschiedenen Umlaufge&shy;schwindigkeiten die Glaskegel rotierten — <SPAN class=systran_nfw_source id=nfw_433>lösten.27</SPAN> Akkordspiel, rasche Tempi, schnelle Läufe und Verzierungen waren jetzt wesent&shy;lich erleichtert, aber die Mehrzahl der Musikschriftsteller stimmte darin</SPAN> <SPAN class=systran_seg id=seg_193>überein, daß die Klaviatur die feine Innervation und <SPAN class=systran_nfw_source id=nfw_434>Seelen&shy;haftigkeit</SPAN> der mit Fingern gestrichenen <SPAN class=systran_nfw_source id=nfw_435>Franklinschen</SPAN> Harmonika nicht <SPAN class=systran_nfw_source id=nfw_437>erreiche.28</SPAN> Um die Jahrhundertwende wurde denn auch der Bau von Tasteninstrumenten aufgegeben und man kehrte zur <SPAN class=systran_nfw_source id=nfw_438>Franklinschen</SPAN> Type zurück;</SPAN> <SPAN class=systran_seg id=seg_194>meines Wissens findet sich gegenwär&shy;tig nirgends mehr in Museen oder Sammlungen eine spielbare <SPAN class=systran_nfw_source id=nfw_439>Klavierharmonika</SPAN>.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_195>Aber auch die siegreiche <SPAN class=systran_nfw_source id=nfw_440>Franklinsche</SPAN> Harmonika wurde bald durch billigere, leichter zu erlernende und zu spielende Instru&shy;mente ähnlicher Klangfarbe wie <SPAN class=systran_nfw_source id=nfw_443>Accordeon</SPAN>, <SPAN class=systran_nfw_source id=nfw_442>Physharmonika</SPAN> und zuletzt durch das Harmonium verdrängt, vor allem weil der Ge&shy;schmack sich änderte, und das Publikum der romantischen und der folgenden Epoche den kraftvolleren, hochdifferenzierten Orchesterklang dem ätherisch-zarten <SPAN class=systran_nfw_source id=nfw_445>Säuseln</SPAN> der Harmonika <SPAN class=systran_nfw_source id=nfw_447>vor&shy;zog.29</SPAN> Um 1830 war dieser Prozeß beendet und das Instrument praktisch verschwunden.</SPAN> <SPAN class=systran_seg id=seg_196>In neuester Zeit entstand die Glasharfe <SPAN class=systran_nfw_source id=nfw_448>Bruno Hoffmanns30</SPAN>, welche auf das Prinzip des Gläserspiels zu&shy;rückgreift, indem sie fixe, in einem Resonanzboden steckende, ge&shy;nau gestimmte Glasglocken durch kreisende Bewegung befeuch&shy;teter Finger zum Klingen bringt.</SPAN> <SPAN class=systran_seg id=seg_197>Das Instrument verbindet die Vorteile der <SPAN class=systran_nfw_source id=nfw_449>Franklinschen</SPAN> mit jenen der <SPAN class=systran_nfw_source id=nfw_450>Tastenharmonika</SPAN> ohne das durch unvollkommene zentrale Rotation der Schalen bedingte unbeabsichtigte An- und <SPAN class=systran_nfw_source id=nfw_451>Abschwellen</SPAN> der Töne, und gestattet die Ausführung aller Passagen, Verzierungen, Triller und das Akkord&shy;spiel.</SPAN> <SPAN class=systran_seg id=seg_198>Sein Klang gleicht jenem der <SPAN class=systran_nfw_source id=nfw_452>Franklinschen</SPAN> Harmonika und auf ihm läßt sich auch Mozarts <SPAN class=systran_nfw_source id=nfw_454>Quintett KV</SPAN> 617 unschwer <SPAN class=systran_nfw_source id=nfw_455>aus&shy;führene</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_199>Inwieweit es die einstige Popularität der <SPAN class=systran_nfw_source id=nfw_456>Glasharmonika</SPAN> erreichen wird, ist allerdings eine offene Frage.</SPAN></SPAN><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
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<DIV class=Section5>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt"><SPAN class=systran_seg id=seg_200>III.</SPAN></SPAN><SPAN class=systran_seg id=seg_200> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">Abschnitt</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_201>DIE KONZERTTÄTIGKEIT DER <SPAN class=systran_nfw_source id=nfw_457>KIRCHGESSNER</SPAN> IN WIEN 1791 UND 1806</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_202>„Die Menschen sind im gan&shy;zen Leben blind".</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_203>Faust II. 5.</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_204>Gewiß war es kein Zufall, daß die blinde Künstlerin, sobald sie gleich ihren Lehrern, Freunden und Gönnern ihre Ausbildung für beendet und den Zeitpunkt für die — damals wie heute übliche — Auswertung ihres <SPAN class=systran_nfw_source id=nfw_458>Könnens</SPAN> durch eine große Konzert&shy;reise für gekommen ansah, als erstes bedeutsames Reiseziel nach Absolvierung der ersten Pflichten im heimatlichen deutschen Süden Wien wählte.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_205>Das alte Österreich war im <SPAN class=systran_nfw_source id=nfw_460>schwäbisch-badensischen</SPAN> Raum nicht bloß durch den Besitz der sogenannten <SPAN class=systran_nfw_source id=nfw_461>Vorlande</SPAN> eine politisch wichtige Macht, Wien war damals im ganzen deutschen Reich füh&shy;rende Musikmetropole, weit stärker als das den deutschen Norden beherrschende Leipzig.</SPAN> <SPAN class=systran_seg id=seg_206>Noch lebte Mozart, dessen Ruhm sich ebenso wie der des 1790 nach England gereisten <SPAN class=systran_nfw_source id=nfw_462>Joseph Haydn</SPAN> längst über ganz Mitteleuropa verbreitet hatte.</SPAN> <SPAN class=systran_seg id=seg_207>Neben ihnen wirkte eine Plejade von Kleinmeistern, wie <SPAN class=systran_nfw_source id=nfw_463>Antonio Salieri</SPAN>, <SPAN class=systran_nfw_source id=nfw_464>Leo&shy;pold Kozeluch</SPAN>, <SPAN class=systran_nfw_source id=nfw_465>Franz</SPAN> A. Hoffmeister, <SPAN class=systran_nfw_source id=nfw_466>Adalbert Gyrowetz</SPAN>, <SPAN class=systran_nfw_source id=nfw_467>Johann</SPAN> B. <SPAN class=systran_nfw_source id=nfw_468>Wanhall</SPAN>, <SPAN class=systran_nfw_source id=nfw_469>Leopold</SPAN> Hoffmann, die Liedmeister <SPAN class=systran_nfw_source id=nfw_470>Joseph</SPAN> A. <SPAN class=systran_nfw_source id=nfw_471>Stef&shy;fan</SPAN>, <SPAN class=systran_nfw_source id=nfw_472>Martin Rupprecht</SPAN> und J. H. Grünwald neben den <SPAN class=systran_nfw_source id=nfw_473>Singspiel&shy;komponisten Ferdinand Kauer</SPAN> und <SPAN class=systran_nfw_source id=nfw_474>Wenzel</SPAN> Müller.</SPAN> <SPAN class=systran_seg id=seg_208>In Wien lebte und lehrte auch der berühmte Theoretiker <SPAN class=systran_nfw_source id=nfw_475>Johann</SPAN> G. <SPAN class=systran_nfw_source id=nfw_476>Albrechts&shy;berger</SPAN>, und schon wuchs eine jüngere Generation von Pianisten heran:</SPAN> <SPAN class=systran_seg id=seg_209>Mozarts Schüler <SPAN class=systran_nfw_source id=nfw_477>Johann</SPAN> N. Hummel und <SPAN class=systran_nfw_source id=nfw_481>Josephine Aurnhammer</SPAN>, sein Freund <SPAN class=systran_nfw_source id=nfw_482>Anton Eberl</SPAN>, der kurz vorher (1790) nach Wien übersiedelte einstige Schüler <SPAN class=systran_nfw_source id=nfw_478>Leopold</SPAN> Mozarts und <SPAN class=systran_nfw_source id=nfw_479>Michael Haydns Joseph Wölfl</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_210>Zwei Frauen, <SPAN class=systran_nfw_source id=nfw_483>Marianne</SPAN> von <SPAN class=systran_nfw_source id=nfw_484>Mar&shy;tinez</SPAN> und die blinde Maria <SPAN class=systran_nfw_source id=nfw_485>Theresia</SPAN> <SPAN class=systran_spellcheck id=spellcheck_22>Paradis</SPAN>, wirkten in Wien als Komponistinnen und diese, erst 1786 von einer großen und er&shy;folgreichen Europareise heimgekehrt, ließ sich noch dann und wann in den Konzerten der Tonkünstlersozietät als <SPAN class=systran_nfw_source id=nfw_488>Pianistin</SPAN> von Rang <SPAN class=systran_nfw_source id=nfw_489>hören.1</SPAN> Die Geige war durch Karl <SPAN class=systran_nfw_source id=nfw_490>Ditters</SPAN> v. <SPAN class=systran_nfw_source id=nfw_491>Dittersdorf</SPAN> und nach dessen Abgang von Wien durch <SPAN class=systran_nfw_source id=nfw_492>Joseph Starzer</SPAN> und die Brü&shy;der <SPAN class=systran_nfw_source id=nfw_493>Paul</SPAN> und <SPAN class=systran_nfw_source id=nfw_494>Anton Wranitzky</SPAN>, beide vom Hofopernorchester, das Violoncello durch <SPAN class=systran_nfw_source id=nfw_496>Joseph Reicha</SPAN>, Onkel des Komponisten <SPAN class=systran_nfw_source id=nfw_497>Anton Reicha</SPAN>, und <SPAN class=systran_nfw_source id=nfw_498>Vincenz Hauschka</SPAN> vertreten, lauter tüchtige Musiker, wiewohl keine international anerkannten <SPAN class=systran_nfw_source id=nfw_499>Meister.2 Vir&shy;tuosen</SPAN> auf ihrem Instrument und durch ihre Beziehungen zu Mozart bekannt, waren auch der Klarinettist <SPAN class=systran_nfw_source id=nfw_501>Anton Stadler</SPAN> und der</SPAN> <SPAN class=systran_seg id=seg_211>Hornist <SPAN class=systran_nfw_source id=nfw_502>Ignaz Leitgeb</SPAN>.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_212>Das Wiener Musikleben war vielfältig und qualitativ, gemes&shy;sen an den Anforderungen jener Zeit, auch hochwertig.</SPAN> <SPAN class=systran_seg id=seg_213>Musik bil&shy;dete in den Kreisen des hohen Adels und der „zweiten Gesell&shy;schaft", zu der man die hohe Beamtenschaft, den niederen Adel und das aufstrebende wohlhabende, Handel und Industrie trei&shy;bende Bürgertum zählte, einen wichtigen und unentbehrlichen Teil der Bildung und des kulturellen Standards.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_214>Besaß Wien zwar außer der 1772 gegründeten, ihre Tätigkeit allerdings auf zwei Doppelakademien zu Weihnachten und vor Ostern beschränkenden Tonkünstlersozietät noch kein Konzert&shy;orchester aus Berufsmusikern, so wurde diese Lücke doch zum großen Teil durch die Hauskapellen des Hochadels, der Lobko-witz, <SPAN class=systran_nfw_source id=nfw_504>Esterhazy</SPAN>, Schwarzenberg, <SPAN class=systran_nfw_source id=nfw_503>Grassalkovich</SPAN> ausgefüllt, bis am Ende des Jahrhunderts Kriegs- und Finanznöte ihre Auflösung erzwangen.</SPAN> <SPAN class=systran_seg id=seg_215>Aber auch in den Kreisen des kunstliebenden <SPAN class=systran_nfw_source id=nfw_505>Bürger&shy;und</SPAN> Beamtentums wurde eifrig musiziert und <SPAN class=systran_nfw_source id=nfw_506>Dilettanten</SPAN>, von denen manche sehr gut ausgebildet waren, gaben z. B. in der Häu&shy;sern des Hofrats <SPAN class=systran_nfw_source id=nfw_507>Franz</SPAN> S. v. <SPAN class=systran_nfw_source id=nfw_508>Greiner</SPAN> oder des Hofsekretärs J. A. <SPAN class=systran_spellcheck id=spellcheck_23>Paradis</SPAN> Akademien für geladene Gäste und Freunde des <SPAN class=systran_nfw_source id=nfw_510>Hauses3</SPAN>, zu denen aber auch <SPAN class=systran_nfw_source id=nfw_511>distinguierte</SPAN> Fremde, Reisende oder „Perso&shy;nen von Stand" Zutritt fanden.</SPAN> <SPAN class=systran_seg id=seg_216>Klavierspiel gehörte in diesen Kreisen für die Frauen, deren Bildungsmöglichkeiten sonst gering waren, zum guten Ton und bildete einen Teil ihrer <SPAN class=systran_nfw_source id=nfw_512>Erziehung.4</SPAN> Das Vorbild des Herrscherhauses, in dem bis zu <SPAN class=systran_nfw_source id=nfw_513>Leopold</SPAN> IL viel musiziert wurde, mag hier maßgebend gewesen sein.</SPAN> <SPAN class=systran_seg id=seg_217>Dagegen fehlten im Wien des letzten Jahrzehnts des 18.</SPAN> <SPAN class=systran_seg id=seg_218>Jahrhunderts jene öffentlichen, von <SPAN class=systran_nfw_source id=nfw_515>Dilettanten</SPAN> geleiteten und dargebotenen Lieb&shy;haberkonzerte, bei denen etwa in Leipzig das Schwergewicht städ&shy;tischer Musikpflege lag und die, Abonnenten oder Einzelbesuchern gegen Eintrittsgeld zugänglich, unter der Leitung eines anerkannten Musikers der Stadt regelmäßig in der Saison Orchesterkon&shy;zerte <SPAN class=systran_nfw_source id=nfw_516>veranstalteten.5</SPAN> Wien besaß damals nur zwei, strukturell den <SPAN class=systran_nfw_source id=nfw_517>Leipzigern</SPAN> oder ähnlichen norddeutschen nicht vergleichbare Liebhaberkonzerte:</SPAN> <SPAN class=systran_seg id=seg_219>das in der „Mehlgrube" am Mehlmarkt (heute Neuer Markt) und die Augartenkonzerte, an denen Mozart eine Zeitlang großen Anteil nahm.</SPAN> <SPAN class=systran_seg id=seg_220>Später leitete sie der Geiger <SPAN class=systran_nfw_source id=nfw_518>Rudolf</SPAN> und, als sie schon in Verfall gerieten, der aus <SPAN class=systran_nfw_source id=nfw_519>Beethovens</SPAN> Leben bekannte Geiger <SPAN class=systran_nfw_source id=nfw_520>Ignaz Schuppanzigh.6</SPAN> Es ist <SPAN class=systran_nfw_source id=nfw_521>Hanslick</SPAN> durchaus zuzustimmen, wenn er das Fehlen eines bedeutenden öffentlichen Liebhaberkonzerts nach Art des <SPAN class=systran_nfw_source id=nfw_522>Leipziger</SPAN> Gewandhauskonzertes auf die strukturelle Verschiedenheit des Musiklebens in einer — für damalige Begriffe — großen, ja einer Großstadt, und in einer Mittelstadt zurückführt, weil in der Großstadt angesichts der Durchdringung des gesellschaftlichen Lebens mit Musik ein Lieb&shy;haberkonzert keineswegs im gleichen Grade Bedürfnis war wie dort.</SPAN> <SPAN class=systran_seg id=seg_221>Dazu kam noch eine reich entwickelte Kirchenmusik, und die beiden Hoftheater, in denen deutsche und italienische Opern und <SPAN class=systran_nfw_source id=nfw_523>Singspiele</SPAN> aufgeführt wurden, stellten eine unablässig strö&shy;mende Quelle musikalischer Anregung dar.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_222>Konzerte einzelner einheimischer oder reisender <SPAN class=systran_nfw_source id=nfw_524>Virtuosen</SPAN> fan&shy;den statt, aber bei weitem nicht so oft und regelmäßig wie später im 19.</SPAN> <SPAN class=systran_seg id=seg_223>Jahrhundert.</SPAN> <SPAN class=systran_seg id=seg_224>Der <SPAN class=systran_nfw_source id=nfw_525>Virtuose</SPAN> hatte es in einer Zeit ohne Kon&shy;zertagenturen und mit unentwickeltem Zeitungs- und Publizitäts&shy;wesen schwer.</SPAN> <SPAN class=systran_seg id=seg_225>Schloß er sich den seltenen Akademien der Ton&shy;künstlersozietät an, so durfte er nicht auf nennenswerten Gewinn zählen.</SPAN> <SPAN class=systran_seg id=seg_226>Wollte er aber ein Konzert auf eigene Rechnung geben, so hatte er nur die Wahl zwischen dem Saal in der „Mehlgrube" oder dem des <SPAN class=systran_nfw_source id=nfw_526>Traiteurs Jahn</SPAN> in der <SPAN class=systran_nfw_source id=nfw_527>Himmelpfortgasse</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_227>Die <SPAN class=systran_nfw_source id=nfw_528>Redoutensäle</SPAN> und die beiden Hoftheater wurden nur selten und auch dann nur an spielfreien, sogenannten <SPAN class=systran_nfw_source id=nfw_529>Normatagen</SPAN>, an <SPAN class=systran_nfw_source id=nfw_530>Vir&shy;tuosen</SPAN> von Rang überlassen, und der Pachtzins war nicht unbe&shy;trächtlich.</SPAN> <SPAN class=systran_seg id=seg_228>Überdies mußten solche Konzerte durch mitgebrachte oder in Wien ausgestellte Empfehlungsbriefe an einflußreiche, ver&shy;mögende Persönlichkeiten gut vorbereitet und Gönner mußten ge&shy;funden werden, die Karten abnahmen und andere <SPAN class=systran_nfw_source id=nfw_531>Subscribenten</SPAN> brachten.</SPAN> <SPAN class=systran_seg id=seg_229>Da <SPAN class=systran_nfw_source id=nfw_532>Sonate</SPAN> und Lied noch kaum konzertfähig waren, mußte der <SPAN class=systran_nfw_source id=nfw_533>Virtuose</SPAN> einen Abend mit Orchesterbegleitung geben, bei dem er Konzerte spielte oder Arien sang.</SPAN> <SPAN class=systran_seg id=seg_230>So hatte der Künst&shy;ler, vor allem der auswärtige, ein erhebliches finanzielles Risiko zu tragen und überdies mit einem — nicht immer unbegründe&shy;ten — Vorurteil zu kämpfen.</SPAN> <SPAN class=systran_seg id=seg_231>Denn immer wieder mißbrauchten <SPAN class=systran_nfw_source id=nfw_534>Scharlatane</SPAN> oder <SPAN class=systran_nfw_source id=nfw_535>Dilettanten</SPAN> die Musikliebe des Publikums und diskreditierten damit den ganzen <SPAN class=systran_nfw_source id=nfw_536>Beruf.7</SPAN> Für berühmte oder be&shy;liebte Künstler war Wien freilich ein Boden, der sich leicht pflü&shy;gen ließ und reiche Frucht trug.</SPAN> <SPAN class=systran_seg id=seg_232>Hatte doch Mozart bald nach seiner Niederlassung Wien als „den besten Ort von der Welt" und als „das wahre Klavierland" <SPAN class=systran_nfw_source id=nfw_537>bezeichnet.8</SPAN> Aber auch gute Geiger kamen gern und nicht selten.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_233>In dieses musikgesättigte Milieu trat nun im April 1791 die blinde <SPAN class=systran_nfw_source id=nfw_539>Glasharmonika-virtuosin</SPAN>, um hier ihr erstes Konzert in der großen Musikstadt zu geben.</SPAN> <SPAN class=systran_seg id=seg_234>Ihr merkwürdiges, viel bewundertes Instrument war den <SPAN class=systran_nfw_source id=nfw_540>Wienern</SPAN> nicht mehr unbekannt.</SPAN> <SPAN class=systran_seg id=seg_235>Schon An&shy;fang</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_236>der</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_237>70er</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_238>Jahre</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_239>war</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_240>die</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_241>englische</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_242><SPAN class=systran_nfw_source id=nfw_541>Harmonikaspielerin Marianne Davies</SPAN>, der der Erfinder des Instruments <SPAN class=systran_nfw_source id=nfw_542>Benjamin Franklin</SPAN> ein solches Instrument, vielleicht sein eigenes, überlassen hatte, nach Wien gekommen, und hatte bei <SPAN class=systran_spellcheck id=spellcheck_24>Hofe</SPAN> große Erfolge errungen.</SPAN> <SPAN class=systran_seg id=seg_243><SPAN class=systran_nfw_source id=nfw_543>Metastasio</SPAN> selbst hatte für sie eine <SPAN class=systran_spellcheck id=spellcheck_25>Ode</SPAN> gedichtet, <SPAN class=systran_nfw_source id=nfw_544>Adolf</SPAN> Hasse sie vertont, und gemeinsam mit ihrer Schwester, der <SPAN class=systran_nfw_source id=nfw_545>Sopra&shy;nistin Cecilia Davies</SPAN>, hatte sie dieses Werk <SPAN class=systran_nfw_source id=nfw_546>vorgetragen.9</SPAN> Schnell wurde das Instrument in Wien Mode und der damals am Beginn seiner Erfolge als <SPAN class=systran_nfw_source id=nfw_548>Psychotherapeut</SPAN> stehende Arzt Dr. <SPAN class=systran_nfw_source id=nfw_547>Franz Anton Mesmer</SPAN> ließ sich eine <SPAN class=systran_nfw_source id=nfw_549>Glasharmonika</SPAN> um den sehr hohen Betrag von 50 <SPAN class=systran_nfw_source id=nfw_550>Dukaten</SPAN> bauen.</SPAN> <SPAN class=systran_seg id=seg_244>Nach dem Zeugnis <SPAN class=systran_nfw_source id=nfw_551>Leopold</SPAN> Mozarts, der ihn bei seinem Besuch in Wien 1773 in seinem Gartenpalais auf der Landstraße hörte, beherrschte er die Spieltechnik <SPAN class=systran_nfw_source id=nfw_552>vollkom&shy;men10</SPAN>, und die ätherischen, zauberhaften Töne des Instruments dienten dem eifrig experimentierenden Arzt bei seinen <SPAN class=systran_nfw_source id=nfw_553>Seancen</SPAN> zur Beruhigung der Patienten, die dadurch in eine für die Auf&shy;gaben des „<SPAN class=systran_nfw_source id=nfw_554>animalischen</SPAN> Magnetismus" günstige Stimmung ver&shy;setzt wurden.</SPAN> <SPAN class=systran_seg id=seg_245>Der junge W. A. Mozart spielte damals auf der <SPAN class=systran_nfw_source id=nfw_555>Glasharmonika</SPAN>, die sein Vater freilich der hohen Kosten wegen nicht kaufen konnte, und damals lernten die Mozarts vielleicht im Palais <SPAN class=systran_nfw_source id=nfw_556>Mesmers11</SPAN> auch die englische <SPAN class=systran_nfw_source id=nfw_557>Virtuosin</SPAN> kennen.</SPAN> <SPAN class=systran_seg id=seg_246>Erinne&shy;rungen an dieses Jugenderlebnis mögen mitgespielt haben, als W. A. Mozart 1791 an der Kunst der jungen <SPAN class=systran_nfw_source id=nfw_558>Kirchgessner</SPAN> Anteil nahm und für sie das schönste Werk für dieses Instrument, das <SPAN class=systran_nfw_source id=nfw_559>Quintett</SPAN> für Flöte, Oboe, <SPAN class=systran_nfw_source id=nfw_560>Viola</SPAN>, Cello und <SPAN class=systran_nfw_source id=nfw_561>Glasharmonika KV</SPAN> 617 komponierte.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_247>Von öffentlichen Konzerten der <SPAN class=systran_nfw_source id=nfw_562>Marianne Davies</SPAN> in Wien ist nichts bekannt.</SPAN> <SPAN class=systran_seg id=seg_248>Aber im März 1791, also nur wenige Wochen vor dem Eintreffen der <SPAN class=systran_nfw_source id=nfw_563>Kirchgessner</SPAN>, kam ein reisender <SPAN class=systran_nfw_source id=nfw_564>Virtuose</SPAN> aus Norddeutschland, Karl <SPAN class=systran_nfw_source id=nfw_565>Leopold Röllig</SPAN>, der sich als Erfinder und Konstrukteur mit der Verbesserung des Klaviers, des Bogenflü&shy;gels und der <SPAN class=systran_nfw_source id=nfw_566>Glasharmonika</SPAN> befaßte und 1780 in Dresden bei dem damals gleichfalls an der <SPAN class=systran_nfw_source id=nfw_567>Glasharmonika</SPAN> interessierten J. G. <SPAN class=systran_nfw_source id=nfw_568>Naumann</SPAN> gearbeitet und bei Konzertreisen Erfolge erzielt hatte, nach Wien, und gab am 2. 4. 1791 im <SPAN class=systran_nfw_source id=nfw_569>k.k</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_249>Nationaltheater „auf einer von ihm neu erfundenen Harmonika"<SUP>12</SUP> ein Konzert.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_250>Das Interesse des Wiener Publikums war also bereits erregt und überdies ging der blinden <SPAN class=systran_nfw_source id=nfw_571>Virtuosin</SPAN>, die von München kommend, vielleicht in Salzburg, sicher aber in <SPAN class=systran_nfw_source id=nfw_572>Linz</SPAN> im Theater <SPAN class=systran_nfw_source id=nfw_573>konzertiert13</SPAN> und eine begeisterte, in der Wiener Zeitung abgedruckte Kritik erhalten <SPAN class=systran_nfw_source id=nfw_574>hatte14</SPAN>, die ihre beispiellose Technik und die ganz neue und überraschende Wirkung der <SPAN class=systran_nfw_source id=nfw_575>Glasharmonika</SPAN> rühmte und sich dabei auf einen Artikel Christian F. D. Schubarts in der „Vater&shy;landschronik" <SPAN class=systran_nfw_source id=nfw_576>Jg</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_251>1790/91 Heft 15 berief, ein bedeutender Ruf voraus.</SPAN> <SPAN class=systran_seg id=seg_252>Dafür spricht auch die Abhaltung ihres ersten Konzerts am 10. Juni 1791 im Burgtheater, also einem der vornehmsten Konzertlokale, die damals einem <SPAN class=systran_nfw_source id=nfw_577>Virtuosen</SPAN> zur Verfügung stan&shy;den.</SPAN> <SPAN class=systran_seg id=seg_253>Da sich weder eine Konzertkritik noch ein Programm erhal&shy;ten <SPAN class=systran_nfw_source id=nfw_578>hat15</SPAN>, wissen wir nicht, welche Stücke die <SPAN class=systran_nfw_source id=nfw_579>Kirchgessner</SPAN> damals vortrug.</SPAN> <SPAN class=systran_seg id=seg_254>Wohl hatte Mozart, der die Künstlerin bei einem Privat&shy;konzert — ein Auftreten bei Hof ist nicht bezeugt und in der Zeit der Vorbereitungen für die Kaiserkrönung <SPAN class=systran_nfw_source id=nfw_580>Leopold</SPAN> IL auch unwahrscheinlich — gehört haben muß, unter dem Eindruck ihres <SPAN class=systran_nfw_source id=nfw_581>phänomenalen Könnens</SPAN> wohl auf ihre Bitte für sie das herrliche <SPAN class=systran_nfw_source id=nfw_582>Quintett KV</SPAN> 617 komponiert, das nach seinem „Verzeichnis aller meiner Werke"&nbsp; am 23.</SPAN>&nbsp; <SPAN class=systran_seg id=seg_255>Mai geschrieben oder doch vollendet wurde.</SPAN> <SPAN class=systran_seg id=seg_256>Aber die Blinde hat das für sie bestimmte Werk nicht schon bei ihrer ersten Akademie, sondern erst bei der zweiten, die am 19.&nbsp; 8.</SPAN>&nbsp;&nbsp; 1791&nbsp;&nbsp; <SPAN class=systran_seg id=seg_258>im <SPAN class=systran_nfw_source id=nfw_583>Kärntnertontheater</SPAN>&nbsp; stattfand,&nbsp; <SPAN class=systran_nfw_source id=nfw_584>uraufgeführt.16</SPAN> Vielleicht war die Zeit zum Studium zu kurz oder das Material wurde nicht rechtzeitig fertig.</SPAN> <SPAN class=systran_seg id=seg_259>Ob sie wenigstens das kurze <SPAN class=systran_nfw_source id=nfw_585>Adagio KV</SPAN> 356 (neu <SPAN class=systran_nfw_source id=nfw_586>KV</SPAN> 617a), das wahrscheinlich um dieselbe Zeit als Zugabe (<SPAN class=systran_nfw_source id=nfw_587>Encore</SPAN>) entstand, schon am 10. 6. spielte, läßt sich nicht feststellen.</SPAN> <SPAN class=systran_seg id=seg_260>Die <SPAN class=systran_nfw_source id=nfw_588>Kirchgessner</SPAN> hatte ein ansehnliches Repertoire, hauptsächlich von Werken ihres Landsmanns <SPAN class=systran_nfw_source id=nfw_591>Johann</SPAN> Eichhorn, aber auch ihres Lehrers <SPAN class=systran_nfw_source id=nfw_592>Joseph Alois Schmittbauer</SPAN> für sie kompo&shy;nierter <SPAN class=systran_nfw_source id=nfw_589>Solostücke17</SPAN> und Kammermusikwerke für <SPAN class=systran_nfw_source id=nfw_590>Glasharmonika</SPAN> und mehrere Instrumente, und dürfte, wie bei ihrem <SPAN class=systran_nfw_source id=nfw_593>Linzer</SPAN> Kon&shy;zert so auch bei der ersten Wiener Akademie ihr Programm aus solchen Werken zusammengestellt haben.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_261>Aus einem undatierten, aber längst auf den 11. Juni 1791 be&shy;stimmten Brief Mozarts aus Wien an die damals in Baden zum Kuraufenthalt weilende <SPAN class=systran_nfw_source id=nfw_594>Konstanze18</SPAN> läßt sich entnehmen, daß die <SPAN class=systran_nfw_source id=nfw_595>Kirchgessner</SPAN> ursprünglich schon für Montag, 13. Juni 1791, eine zweite Akademie geplant hatte.</SPAN> <SPAN class=systran_seg id=seg_262>Aus unbekannten Gründen mußte dieses Konzert aber verschoben werden und konnte erst zwei Monate später, am 19. August im <SPAN class=systran_nfw_source id=nfw_596>Kärntnerthortheater statt&shy;finden.19</SPAN> Bei dieser Akademie kam endlich das <SPAN class=systran_nfw_source id=nfw_597>Glasharmonika&shy;quintett KV</SPAN> 617 zur Uraufführung und scheint sofort lebhaften Beifall gefunden zu haben, da es zum beliebtesten Repertoire&shy;stück der Künstlerin wurde, das sie immer wieder <SPAN class=systran_nfw_source id=nfw_598>spielte.20</SPAN> Das Werk stellt so hohe Anforderungen an die Spieltechnik des Inter&shy;preten, daß Köchel-Einstein <SPAN class=systran_nfw_source id=nfw_599>annimmt21</SPAN>, es sei nicht auf dem <SPAN class=systran_nfw_source id=nfw_600>Franklinschen</SPAN> Instrument, das die <SPAN class=systran_nfw_source id=nfw_601>Kirchgessner</SPAN> noch als Schüle&shy;rin vom Reichsfreiherrn von <SPAN class=systran_nfw_source id=nfw_602>Beroldingen</SPAN> zum Geschenk erhalten hatte, sondern auf einer Anschlag und Lauftechnik wesentlich er&shy;leichternden Tasten-(Klavier-)Harmonika&nbsp; vorgetragen&nbsp; worden, da es auf dem von J. A. <SPAN class=systran_nfw_source id=nfw_604>Schmittbauer</SPAN></SPAN> <SPAN class=systran_seg id=seg_263>konstruierten und später in London mit einem Resonanzboden ausgestatteten Instrument <SPAN class=systran_nfw_source id=nfw_605>unspielbar</SPAN> gewesen wäre.</SPAN> <SPAN class=systran_seg id=seg_264>Indessen wissen wir aus zeitgenössischen, durchaus nicht immer als Lob aufzufassenden Berichten, daß die <SPAN class=systran_nfw_source id=nfw_606>Kirchgessner</SPAN> eine eminente Technik besaß, die es ihr ermöglichte, scheinbar <SPAN class=systran_nfw_source id=nfw_607>unspielbare</SPAN> Stellen, Doppelgriffe, Manieren, Triller und schnelle Läufe auf dem Instrument auszuführen und Stücke feh&shy;lerlos zu interpretieren, die für einen minder guten Spieler schlech&shy;terdings unausführbar waren.</SPAN> <SPAN class=systran_seg id=seg_265>Die Kritik warf der <SPAN class=systran_nfw_source id=nfw_608>Kirchgessner</SPAN> eben diese übermäßige Pflege reiner <SPAN class=systran_nfw_source id=nfw_609>Virtuosität</SPAN> vor, durch welche sie dem Instrument seinen charakteristischen sanften Klang nahm und zu technischen <SPAN class=systran_nfw_source id=nfw_610>Künsteleien gelangte22</SPAN>, die gegen das Wesen der doch vor allem zu ruhiger, <SPAN class=systran_nfw_source id=nfw_612>akkordlicher</SPAN> und getragener Klang&shy;wirkung bestimmten Harmonika verstießen.</SPAN> <SPAN class=systran_seg id=seg_266>Erst in ihren letzten Lebensjahren kehrte sie zu einer schlichteren, <SPAN class=systran_nfw_source id=nfw_614>unverkünstelten</SPAN> Spielweise zurück.</SPAN> <SPAN class=systran_seg id=seg_267>Überdies sagt Gerber <SPAN class=systran_nfw_source id=nfw_616>ausdrücklich23</SPAN>, die Blinde habe gleich ihrem Lehrer <SPAN class=systran_nfw_source id=nfw_617>Schmittbauer</SPAN> und dem damals berühm&shy;ten sächsischen <SPAN class=systran_nfw_source id=nfw_618>Hofkapellmeister</SPAN> und Komponisten J. G. <SPAN class=systran_nfw_source id=nfw_619>Nau&shy;mann</SPAN> die in der Mitte der 80er Jahre von mehreren Konstrukteu&shy;ren ungefähr gleichzeitig erfundene und öffentlich vorgeführte Tasten-(Klavier-)Harmonika wegen ihres durch die Tangenten&shy;reibung der Glasschalen bedingten härteren und weniger nuancen&shy;reichen Tones <SPAN class=systran_nfw_source id=nfw_621>abgeleht</SPAN> und sich ihrer nicht bedient.</SPAN> <SPAN class=systran_seg id=seg_268><SPAN class=systran_nfw_source id=nfw_622>Mariane Kirchgessner</SPAN> kannte also offenbar die damals schon im Handel befindlichen Tasteninstrumente eines <SPAN class=systran_nfw_source id=nfw_623>Hessel</SPAN>, <SPAN class=systran_nfw_source id=nfw_624>Nicolai</SPAN>, <SPAN class=systran_nfw_source id=nfw_625>Röllig</SPAN> oder <SPAN class=systran_nfw_source id=nfw_626>Bartl</SPAN>, hielt aber an der zuerst von <SPAN class=systran_nfw_source id=nfw_627>Schmittbauer</SPAN> durch Verwen&shy;dung von <SPAN class=systran_nfw_source id=nfw_628>Krystallschalen</SPAN> und Erweiterung ihres Umfanges von g—g" auf c—f" und später während ihres <SPAN class=systran_nfw_source id=nfw_629>Londoner</SPAN> Aufenthal&shy;tes durch Anbringung eines Resonanzbodens verbesserten <SPAN class=systran_nfw_source id=nfw_630>Frank&shy;linschen Urform24</SPAN> der <SPAN class=systran_nfw_source id=nfw_631>Glasharmonika</SPAN> fest.</SPAN> <SPAN class=systran_seg id=seg_269>Da ihre Instrumente leider nicht auf uns gekommen sind, müssen wir uns mit diesen Feststellungen begnügen.</SPAN> <SPAN class=systran_seg id=seg_270>Mozarts von der <SPAN class=systran_nfw_source id=nfw_632>Kirchgessner</SPAN> auf ihren Kunstreisen immer wieder gespieltes <SPAN class=systran_nfw_source id=nfw_633>Werk25</SPAN>, gewiß das schönste und bedeutendste der heute nur mehr fragmentarisch erhaltenen Literatur, geriet mit der <SPAN class=systran_nfw_source id=nfw_634>Glasharmonika</SPAN> zugleich in Vergessenheit.</SPAN> <SPAN class=systran_seg id=seg_271>Die öfter versuchte Ersetzung des Originalinstrumentes durch Kla&shy;vier oder Harmonium vermag den besonderen Reiz, die Reinheit, Durchsichtigkeit und&nbsp; Schwerelosigkeit des&nbsp; <SPAN class=systran_nfw_source id=nfw_636>Glasharmonikatones</SPAN> nicht zu <SPAN class=systran_nfw_source id=nfw_637>gewährleisten.26</SPAN> Erst <SPAN class=systran_nfw_source id=nfw_638>Bruno</SPAN> Hoffmanns neue Glasharfe scheint einen vollwertigen Ersatz für das verschollene Original&shy;instrument zu <SPAN class=systran_nfw_source id=nfw_639>bieten.27</SPAN></SPAN></SPAN><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
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<DIV class=Section6>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_272>Bei ihrer Akademie vom 19. 8. 1791 spielte die <SPAN class=systran_nfw_source id=nfw_640>Kirchgessner</SPAN> auch „Neue Variationen" von Jan <SPAN class=systran_nfw_source id=nfw_641>Wanhalls</SPAN> über das <SPAN class=systran_nfw_source id=nfw_642>Duett</SPAN> (<SPAN class=systran_nfw_source id=nfw_643>Nel cor piü non mi sento</SPAN>) aus <SPAN class=systran_nfw_source id=nfw_644>Paisiellos</SPAN> seit 1790 auf dem Repertoire des Nationaltheaters stehender erfolgreicher <SPAN class=systran_nfw_source id=nfw_645>Buffa</SPAN> „<SPAN class=systran_nfw_source id=nfw_646>La molina&shy;ra</SPAN>".</SPAN><SUP><SPAN class=systran_seg id=seg_273>28</SPAN></SUP><SPAN class=systran_seg id=seg_273> Auch von dieser Akademie besitzen wir weder Zettel noch Kritik, doch muß der Erfolg bedeutend gewesen sein, da die Künstlerin schon am 3.9.1791 in der Wiener <SPAN class=systran_nfw_source id=nfw_647>Zeitung29</SPAN> ankündigt, daß sie, diesmal im Saal des <SPAN class=systran_nfw_source id=nfw_648>Hoftraiteurs Jahn</SPAN> in der <SPAN class=systran_nfw_source id=nfw_649>Himmel&shy;pfortgasse</SPAN>, am 8.9.1791 wieder ein Konzert geben werde.</SPAN> <SPAN class=systran_seg id=seg_274>Sie be&shy;gründet die rasche Aufeinanderfolge zweier Konzerte mit „Ver&shy;langen vieler grosser Musikkenner, die Harmonika und ihr Spiel in der Nähe und in einem <SPAN class=systran_nfw_source id=nfw_651>Sal</SPAN> ganz genau zu hören und überhaupt dieses bisher verkannte Instrument besser kennen zu lernen".</SPAN> <SPAN class=systran_seg id=seg_275>Das spricht gewiß für den Erfolg der Akademie vom 19. 8.</SPAN><SPAN class=systran_seg id=seg_276>, aber auch für das große Interesse der Wiener Musikfreunde für das merk&shy;würdige Instrument und seine <SPAN class=systran_nfw_source id=nfw_652>Spielerin</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_277>Wahrscheinlich wäre ihr wieder eines der Hoftheater überlassen worden.</SPAN> <SPAN class=systran_seg id=seg_278>Wenn sie für ihr drittes Konzert einen intimeren Raum, den kleinen (heute nicht mehr existierenden) Saal im <SPAN class=systran_nfw_source id=nfw_653>Jahnschen Hause30</SPAN> wählte, der den Konzertbesuchern eine genaue Beobachtung der Spieltechnik der Vortragenden ermöglichte und für das damals noch recht klang&shy;schwache Instrument bessere Resonanz bot, so war dieser Ent&shy;schluß wohl begründet.</SPAN> <SPAN class=systran_seg id=seg_279>Vermutlich hat sie auch bei diesem Schluß&shy;konzert das <SPAN class=systran_nfw_source id=nfw_654>Quintett KV</SPAN> 617, vielleicht auch als Zugabe das <SPAN class=systran_nfw_source id=nfw_655>Adagio KV</SPAN> 617a gespielt, Stücke in denen sie ihr Können in vol&shy;les Licht rücken konnte.</SPAN> <SPAN class=systran_seg id=seg_280>Da auch von diesem Konzertabend Kritik und Besprechung fehlen, können wir nur vermuten, daß sie auch <SPAN class=systran_nfw_source id=nfw_656>Glasharmonikakompositionen</SPAN> anderer Meister wie <SPAN class=systran_nfw_source id=nfw_657>Schlett</SPAN>, Eich&shy;horn, <SPAN class=systran_nfw_source id=nfw_658>Wanhall</SPAN> oder Neumann gespielt habe, da die beiden Stücke Mozarts nicht abendfüllend sind.</SPAN> <SPAN class=systran_seg id=seg_281>Ob Mozart, der aller Wahr&shy;scheinlichkeit nach erst am 25. 8. oder 26.</SPAN> <SPAN class=systran_seg id=seg_282>8.31 nach Prag zur Vor&shy;bereitung&nbsp; der</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_283>„<SPAN class=systran_nfw_source id=nfw_659>Clemenza</SPAN>&nbsp; <SPAN class=systran_spellcheck id=spellcheck_26>di</SPAN></SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_284><SPAN class=systran_nfw_source id=nfw_660>Tito</SPAN> "-Uraufführung&nbsp; gemeinsam mit <SPAN class=systran_nfw_source id=nfw_661>Konstanze</SPAN> und <SPAN class=systran_nfw_source id=nfw_662>Süssmayr</SPAN> abreiste, bei der Akademie vom 19. August noch seine beiden <SPAN class=systran_nfw_source id=nfw_663>Glasharmonikawerke</SPAN> hörte, läßt sich nicht mehr feststellen.</SPAN> <SPAN class=systran_seg id=seg_285>Am 8. 9. weilte er bereits in Prag, von wo er erst Mitte September nach Wien zurückkehrte.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_286>Die Vermutung O. E. <SPAN class=systran_nfw_source id=nfw_664>Deutschs32</SPAN>, Mozart habe später das <SPAN class=systran_nfw_source id=nfw_665>Quin&shy;tett</SPAN> dem Grafen <SPAN class=systran_nfw_source id=nfw_666>Deym</SPAN> zur Verwendung in seinem <SPAN class=systran_nfw_source id=nfw_667>sogenanntene Müllerschen</SPAN> Wachsfigurenkabinett überlassen, wo es auf einem Spielwerk „Im Schlafgemach der <SPAN class=systran_nfw_source id=nfw_669>Grazien</SPAN>" zu hören war, hat viel Wahrscheinlichkeit für sich, da der in größter Not befindliche Mei&shy;ster auch andere Kompositionen, wie das <SPAN class=systran_nfw_source id=nfw_670>Adagio</SPAN> und <SPAN class=systran_nfw_source id=nfw_671>Allegro</SPAN> für eine Orgelwalze (<SPAN class=systran_nfw_source id=nfw_672>KV</SPAN> 594) die <SPAN class=systran_nfw_source id=nfw_674>f-Moll-Fantasie KV</SPAN> 608 in <SPAN class=systran_nfw_source id=nfw_676>f-Moll</SPAN> und das <SPAN class=systran_nfw_source id=nfw_677>Andante KV</SPAN> 616 in F-Dur für <SPAN class=systran_nfw_source id=nfw_678>Deym</SPAN> geschrieben hatte, um ein wenig Geld zu <SPAN class=systran_nfw_source id=nfw_679>verdienen.33</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_287>In den folgenden Jahren unternahm die Blinde weite Kunst&shy;fahrten, die sie bis England und dann wieder bis St. Petersburg führten.</SPAN> <SPAN class=systran_seg id=seg_288>Kurz vor der Jahrhundertwende machte sie sich dann gemeinsam mit dem befreundeten Ehepaar <SPAN class=systran_nfw_source id=nfw_680>Bossler</SPAN> in <SPAN class=systran_nfw_source id=nfw_681>Gohlis</SPAN> bei Leipzig ansässig, das sie 1802 verließ, um in Stuttgart zu <SPAN class=systran_nfw_source id=nfw_682>kon&shy;zertieren</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_289>Erst 1806 unternahm sie wieder eine Konzertreise nach Wien.</SPAN> <SPAN class=systran_seg id=seg_290>Schweres <SPAN class=systran_nfw_source id=nfw_683>Kriegsgewölk</SPAN> hatte sich damals über Mitteleuropa zusammengeballt;</SPAN> <SPAN class=systran_seg id=seg_291>der dritte Koalitionskrieg, im August 1805 be&shy;gonnen, nahm einen für Österreich und seinen Verbündeten Ruß&shy;land in der Schlacht bei <SPAN class=systran_nfw_source id=nfw_684>Austerlitz</SPAN> unglücklichen Ausgang, und die Kriegswirren vereitelten die ursprünglich nach Venedig und <SPAN class=systran_nfw_source id=nfw_685>Neapel</SPAN> gerichteten Reisepläne der im November 1805 über Dres&shy;den und Prag nach Wien gekommenen Künstlerin.</SPAN> <SPAN class=systran_seg id=seg_292>Konnte oder wollte sie ihre Italienfahrt unter solchen Umständen nicht fortset&shy;zen, so ließ sie es sich doch nicht nehmen am 1. April 1806, also wenige Monate nachdem durch den <SPAN class=systran_spellcheck id=spellcheck_27>Preßburger</SPAN> Frieden eine ge&shy;wisse Atempause in den Kriegen eingetreten war, in der Stadt, die ihr und der sie 1791 so lieb geworden, ein Konzert zu geben.</SPAN> <SPAN class=systran_seg id=seg_293>In einer an diesem Tage im <SPAN class=systran_nfw_source id=nfw_686>k.k</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_294>Burgtheater „zum Besten der Theaterarmen" abgehaltenen <SPAN class=systran_nfw_source id=nfw_687>Akademie34</SPAN> deren Hauptprogramm&shy;punkt J. <SPAN class=systran_nfw_source id=nfw_688>Haydns Oratorium</SPAN> „Die sieben Worte des <SPAN class=systran_nfw_source id=nfw_689>Erlösers</SPAN>" bildete, wirkte <SPAN class=systran_nfw_source id=nfw_690>Mariane Kirchgessner</SPAN> mit einem eigens für sie komponierten Solo von <SPAN class=systran_nfw_source id=nfw_691>Anton Reicha</SPAN> mit.</SPAN> <SPAN class=systran_seg id=seg_295>Es war eine <SPAN class=systran_nfw_source id=nfw_692>Rezitation</SPAN> der Schauspielerin <SPAN class=systran_nfw_source id=nfw_693>Mme</SPAN> Rose, die <SPAN class=systran_nfw_source id=nfw_694>Johannas</SPAN> Abschied von der Heimat aus <SPAN class=systran_nfw_source id=nfw_695>Schillers</SPAN> „Jungfrau von <SPAN class=systran_nfw_source id=nfw_696>Orleans</SPAN>" mit einer <SPAN class=systran_nfw_source id=nfw_697>melodra&shy;matischen Begleitmusik</SPAN> für Orchester und <SPAN class=systran_nfw_source id=nfw_698>Glasharmonika</SPAN> vortrug.</SPAN> <SPAN class=systran_seg id=seg_296>Die — mir unzugängliche — Komposition muß dankbar gewesen sein, da die <SPAN class=systran_nfw_source id=nfw_699>Kirchgessner</SPAN> sie auch an anderen Orten z. B. bei einer Akademie in Stuttgart 1808 <SPAN class=systran_nfw_source id=nfw_700>spielte.35</SPAN> Auch der populäre „<SPAN class=systran_nfw_source id=nfw_701>Eipel&shy;dauer</SPAN>" erwähnt die Wiener Akademie und nennt die <SPAN class=systran_nfw_source id=nfw_702>Kirchgessner</SPAN> „eine berühmte <SPAN class=systran_nfw_source id=nfw_703>Harmonikaspielerin</SPAN>".</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_297>Der Theaterzettel dieses Konzertes hat sich erhalten, doch ist keine Besprechung erschienen, wie das der Zeitsitte entsprach.</SPAN> <SPAN class=systran_seg id=seg_298>Die Bemerkung der <SPAN class=systran_nfw_source id=nfw_704>ADB</SPAN>, die <SPAN class=systran_nfw_source id=nfw_705>Kirchgessner</SPAN> habe 1806 wiederum das <SPAN class=systran_nfw_source id=nfw_706>Quintett</SPAN> Mozarts <SPAN class=systran_nfw_source id=nfw_707>KV</SPAN> 617 <SPAN class=systran_nfw_source id=nfw_708>gespielt36</SPAN>, würde auf einen zweiten Konzertabend hindeuten, da dieses Werk im Programm der Wohl&shy;tätigkeitsakademie vom 1. April nicht vorkommt.</SPAN> <SPAN class=systran_seg id=seg_299>Auch die in <SPAN class=systran_nfw_source id=nfw_709>ADB</SPAN> von C. F. <SPAN class=systran_nfw_source id=nfw_710>Pohl</SPAN> geäußerte Kritik an der „allzu schnellen und künstlichen Manier auf Kosten des wahren Charakters der Har&shy;monika", die sich auf ihr Wiener Auftreten von 1806 bezieht, würde weit eher auf einen Soloabend als auf die bescheidene Mit&shy;wirkung an einer Wohltätigkeitsakademie passen.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_300>Nach Wien ist die <SPAN class=systran_nfw_source id=nfw_712>Kirchgessner</SPAN> nicht mehr gekommen, aber ihr Name blieb unvergessen, wie ein Artikel in der damals bedeu&shy;tendsten Wiener Fachzeitschrift, der „Allgemeinen musikalischen Zeitung mit besonderer Rücksicht auf den <SPAN class=systran_spellcheck id=spellcheck_28>öst</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_301>Kaiserstaat" vom 24. 7.</SPAN> <SPAN class=systran_seg id=seg_302>181737 zeigt, der in einer Artikelserie „Die vorzüglichsten gesichtlosen <SPAN class=systran_nfw_source id=nfw_713>Musikvirtuosen</SPAN> neuerer Zeit, Ein Ehrendenkmal" ihre Biographie bringt, sie als „wirklich grosse <SPAN class=systran_nfw_source id=nfw_714>Virtuosin</SPAN>" auf der Harmonika bezeichnet, und ihren Besuch in Wien bei ihrer ersten Kunstreise nach Deutschland — allerdings fälschlich ins Jahr 1792 oder 1793 verlegt — anführt, bei dem sie „mit grossem Beifall ein Konzert" gegeben habe.</SPAN> <SPAN class=systran_seg id=seg_303>Ausdrücklich wird auch das Geschenk einer <SPAN class=systran_nfw_source id=nfw_716>Glasharmonika</SPAN> an die Blinde durch den <SPAN class=systran_nfw_source id=nfw_717>Frhr</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_304>(<SPAN class=systran_nfw_source id=nfw_718>Joseph Anton</SPAN> Siegmund) von <SPAN class=systran_nfw_source id=nfw_719>Beroldingen</SPAN> erwähnt, von dem das Blatt auch an anderer Stelle im Zusammenhang mit der Biographie der blin&shy;den <SPAN class=systran_nfw_source id=nfw_720>Harfenvirtuosin Schonz</SPAN> spricht, der es „einen Menschen&shy;freund, wie ehemals die <SPAN class=systran_nfw_source id=nfw_721>Kirchgessner</SPAN>" wünscht, der ihr eine neue Pedalharfe schenken <SPAN class=systran_nfw_source id=nfw_722>würde.38</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_305>Die Frage, ob die <SPAN class=systran_nfw_source id=nfw_723>Kirchgessner</SPAN>, hätte sie „ihr Leben höher ge&shy;bracht", wie sich die Allgemeine musikalische Zeitung ausdrückt, nicht noch ein drittes Mal nach Wien gekommen wäre, ist weder zu bejahen noch zu verneinen.</SPAN> <SPAN class=systran_seg id=seg_306>Wien übte damals, wie heute noch</SPAN></SPAN><SPAN class=systran_seg id=seg_306> <SPAN style="mso-ansi-language: DE">auf <SPAN class=systran_nfw_source id=nfw_724>Virtuosen</SPAN> aus aller Welt eine fast magische Anziehungskraft aus, und die Konzertfolge von 1806 konnte zu neuen Kunst&shy;fahrten ermutigen.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_307>Indessen machte ihr vorzeitiger Tod während ihrer letzten Kunstfahrt in Schaffhausen solchen Plänen, wenn sie wirklich bestanden haben sollten, ein Ende.</SPAN></SPAN><o:p></o:p></P></DIV></BODY></HTML></option><option name="target_html"><HTML xmlns="http://www.w3.org/TR/REC-html40" xmlns:v = "urn:schemas-microsoft-com:vml" xmlns:o = "urn:schemas-microsoft-com:office:office" xmlns:w = "urn:schemas-microsoft-com:office:word"><HEAD><TITLE>Appeared first in the yearbook of the association for history to the city Vienna</TITLE>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_2>Appeared first in the yearbook of the association for history to the city Vienna.</SPAN> <SPAN class=systran_seg id=seg_3>Volume <SPAN class=systran_nfw_source id=nfw_1>XXI/XXII</SPAN> (1965/66)</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_4>ISBN 3 7952 0113 6</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 7pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_5>© 1971 <SPAN class=systran_nfw_source id=nfw_2>by</SPAN> Hans's cutter, <SPAN class=systran_nfw_source id=nfw_3>Tutzing</SPAN> sentence and pressure:</SPAN> <SPAN class=systran_seg id=seg_6>Ernst Vögel, Munich 22, channel route 10</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt"><SPAN class=systran_seg id=seg_7>I.</SPAN></SPAN><SPAN class=systran_seg id=seg_7> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">HUMANS AND ARTIST cut off</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_8>„The ear is at all the depth of the soul… the sound speaks the deeply hidden order of our inside on… “</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_9>Jean Faul</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
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<DIV class=Section2>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_10>In the last quarter rationalistic and nevertheless at the same time sensitive and feeling seed 18.</SPAN> <SPAN class=systran_seg id=seg_11>Century began the woman in the arts, particularly in the music to step out more important.</SPAN> <SPAN class=systran_seg id=seg_12>Still even if no speech could be from emancipation and equal rights, it remained also further closely at house and family bound and in their educational facilities strongly neglected, then nevertheless „the time style of the feeling SAMness gave and then the romance the Mrs. Gelegenheit to express its actual and special so that they could be certain the general attention ". </SPAN><SUP><SPAN class=systran_seg id=seg_13>1</SPAN></SUP><SPAN class=systran_seg id=seg_13> ever more frequently we in the Central European area professional musician inside, above all traveler <SPAN class=systran_nfw_source id=nfw_4>Virtuosinnen</SPAN> meet or firmly into the music enterprise of a city integrated artists, as for instance at J.A. <SPAN class=systran_nfw_source id=nfw_5>Hillers</SPAN> time <SPAN class=systran_nfw_source id=nfw_6>Gertrud</SPAN> Schmeh <SPAN class=systran_nfw_source id=nfw_7>ling</SPAN> and <SPAN class=systran_nfw_source id=nfw_8>Corona Schröter</SPAN> than <SPAN class=systran_nfw_source id=nfw_9>Gesangsolistinnen</SPAN> „of the large concert " in Leipzig, or at the</SPAN></SPAN><SPAN class=systran_seg id=seg_13> <SPAN style="FONT-SIZE: 9pt">IITH</SPAN> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">k justified by <SPAN class=systran_nfw_source id=nfw_10>Joseph</SPAN>.</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_14>k.</SPAN> <SPAN class=systran_seg id=seg_15>National yard theater important opera singers such as <SPAN class=systran_nfw_source id=nfw_11>Catarina Cavalieri2</SPAN>, Mozart of first <SPAN class=systran_nfw_source id=nfw_12>Konstanze</SPAN>, and <SPAN class=systran_nfw_source id=nfw_13>Aloysia</SPAN> webers, <SPAN class=systran_nfw_source id=nfw_14>verehel</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_16>Be enough, for his sister-in-law.</SPAN> <SPAN class=systran_seg id=seg_17>Also creative the women in still a world with own achievements, quite male despite all <SPAN class=systran_nfw_source id=nfw_15>Galanterie</SPAN>, began to step out, as into Weimar the duchess nut/mother <SPAN class=systran_nfw_source id=nfw_16>Amalie</SPAN>, in Vienna <SPAN class=systran_nfw_source id=nfw_17>the</SPAN> <SPAN class=systran_nfw_source id=nfw_18>Porpora</SPAN> and J. Haydn Pupil <SPAN class=systran_nfw_source id=nfw_19>Marianne</SPAN> v. <SPAN class=systran_nfw_source id=nfw_20>Martinez.3</SPAN> among these musicians are repeated also blind ones, blindly born or - more frequently - as consequence to black sheets, this hardly illness welfarable terrible before invention of the smallpox protective inoculation and - in in former times youth, like the <SPAN class=systran_nfw_source id=nfw_21>Pianistin</SPAN> and <SPAN class=systran_nfw_transfer id=nfw_22>Komponistin</SPAN> Maria <SPAN class=systran_nfw_source id=nfw_23>Theresia</SPAN> <SPAN class=systran_nfw_transfer id=nfw_24>Paradis</SPAN> and the <SPAN class=systran_nfw_source id=nfw_25>Glasharmonikaspielerin Mariane Kirchgessner</SPAN> went blind.</SPAN> <SPAN class=systran_seg id=seg_18>The connections between blindness and music gift are investigated and Hans's J. <SPAN class=systran_nfw_source id=nfw_26>Moser</SPAN> are right surely, if it accepts with <SPAN class=systran_nfw_source id=nfw_27>Friedrich Rochlitz4</SPAN>, it are still hardly more exactly under blind music gift neither more frequent nor stronger than under seeing;</SPAN> <SPAN class=systran_seg id=seg_19>however the absence of the sense of face causes that a larger part of the general mental attention turns to the sense of hearing, so that the loss of <SPAN class=systran_nfw_source id=nfw_28>zerstreuender</SPAN> face impressions is able to promote the internal collection on dichterisch musical conceptions.</SPAN> <SPAN class=systran_seg id=seg_20>By the loss of the sense of face place-in substitution hearing and <SPAN class=systran_nfw_transfer id=nfw_29>Tastsinn</SPAN> are strongly intensified by the so-called <SPAN class=systran_nfw_source id=nfw_30>Vicariat</SPAN> of the senses.</SPAN> <SPAN class=systran_seg id=seg_21>Meanwhile stresses <SPAN class=systran_nfw_source id=nfw_31>Rochlitz</SPAN> surely applicable to thus create that this situation first only a sharpening of the memory, which talent and precision in the play, besides also abundance, security and beauty of the clay/tone, thus, in the existence call specific <SPAN class=systran_nfw_source id=nfw_32>Virtuosenfaktoren</SPAN> without however creative fantasy, depth and <SPAN class=systran_nfw_transfer id=nfw_33>Zartheit</SPAN> of the feeling, characteristics of original gift, - if these not already exist.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_22>Two such blind women, phenomena within their range and once carrier inside famous names, became important for old Austria, thus particularly for Vienna, in which as capital of a large realm its life energies pulsated above all:</SPAN> <SPAN class=systran_seg id=seg_23>Maria <SPAN class=systran_nfw_source id=nfw_34>Theresia</SPAN> <SPAN class=systran_nfw_transfer id=nfw_35>Paradis</SPAN>, old Austrian official sex coming of, and <SPAN class=systran_nfw_source id=nfw_36>Mariane Kirchgessner</SPAN>, after their origin South German ones, but by their <SPAN class=systran_nfw_source id=nfw_37>Virtuosenlaufbahn</SPAN>, which took in Vienna its steep ascent, brought and toward end of its life into brilliant action went it again here with W. to A. Mozart into creative relationship, connected with this city closely.</SPAN> <SPAN class=systran_seg id=seg_24>Unequally their fate companion the <SPAN class=systran_nfw_source id=nfw_38>Kirchgessner</SPAN> stepped out probably not the whole effect and life circle of a musician, but itself on the <SPAN class=systran_nfw_source id=nfw_39>virtuose</SPAN> play of its forgotten today, at that time much admired or met with hostility, from that Weimar one classical authors and still again and again instrument, which limits <SPAN class=systran_nfw_source id=nfw_40>Glasharmonika</SPAN>, praised by the romantics.</SPAN> <SPAN class=systran_seg id=seg_25>But their living and working are so characteristic of the <SPAN class=systran_nfw_source id=nfw_41>empfindsame</SPAN> and for the earlyromantic epoch in the history of Vienna that it is probably worth the trouble to be occupied with it in this connection.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_26><SPAN class=systran_nfw_source id=nfw_42>Mariane Kirchgessner5</SPAN> came on 5 June 1769 into <SPAN class=systran_nfw_source id=nfw_43>Bruchsal6</SPAN>, at that time residence of the prince bishop von <SPAN class=systran_nfw_source id=nfw_44>Speier</SPAN>, today a provincial town of the former Grand Duchy of bathing, probably as</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">8</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_28>fifth child of the <SPAN class=systran_nfw_source id=nfw_45>speierischen</SPAN> chamber paymaster (<SPAN class=systran_nfw_source id=nfw_46>ärarii cameralis dispensatoris</SPAN>) <SPAN class=systran_nfw_source id=nfw_47>Joseph Anton Kirchgessner</SPAN> and his wife Maria <SPAN class=systran_nfw_source id=nfw_48>Theresia</SPAN>, born <SPAN class=systran_nfw_source id=nfw_49>Wassmuth</SPAN>, to the world and became on 9 June in the city parish church <SPAN class=systran_nfw_source id=nfw_50>SS</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_29><SPAN class=systran_nfw_source id=nfw_51>Damian</SPAN> and <SPAN class=systran_nfw_source id=nfw_52>Hugo</SPAN> after r. </SPAN><SPAN class=systran_seg id=seg_30>- k.</SPAN> <SPAN class=systran_seg id=seg_31>Rite baptized.</SPAN> <SPAN class=systran_seg id=seg_32>That it was time life pious <SPAN class=systran_nfw_source id=nfw_53>Katholikin</SPAN>, one can conclude from the fact that she requested still in her last illness in work living in December 1808 from the monastery <SPAN class=systran_nfw_transfer id=nfw_54>Paradies</SPAN> in the canton <SPAN class=systran_nfw_source id=nfw_55>Thurgau</SPAN> a <SPAN class=systran_nfw_source id=nfw_56>Beichtvater</SPAN>, lain in the middle in Protestant country as enclave, and died after receipt of the <SPAN class=systran_nfw_source id=nfw_57>Sakramente</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_33>On its desire it <SPAN class=systran_nfw_source id=nfw_58>was bestattet</SPAN> also in the layman cemetery (today long waived) of the monastery to the last peace.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_34>Father <SPAN class=systran_nfw_source id=nfw_59>Kirchgessner</SPAN> was active in the close place of pilgrimage <SPAN class=systran_nfw_source id=nfw_60>Waghäusel</SPAN> (<SPAN class=systran_nfw_source id=nfw_61>Pfarre Wiesenthal</SPAN>), where him between 1762 and 1766 four daughters were born, which after his transfer after <SPAN class=systran_nfw_source id=nfw_62>Bruchsal</SPAN> as fifth and next to last Maria Anna followed.</SPAN> <SPAN class=systran_seg id=seg_35>Two years later a sixth daughter, Maria <SPAN class=systran_nfw_source id=nfw_63>Gertrud Sophie</SPAN>, was born, those in the last <SPAN class=systran_nfw_transfer id=nfw_64>Lebensjahren</SPAN> of her famous sister their constant travel companion <SPAN class=systran_nfw_source id=nfw_65>wurde.8</SPAN> both parents was musical, the father was a good <SPAN class=systran_nfw_source id=nfw_66>Cellist</SPAN> and tenor singer, the nut/mother played piano and <SPAN class=systran_nfw_transfer id=nfw_67>Hackbrett</SPAN> <SPAN class=systran_nfw_source id=nfw_68>trefflich</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_36>The small <SPAN class=systran_nfw_source id=nfw_69>Mariane</SPAN>, just as in music talented as their brothers and sisters, was struck with four years by the smallpox, one at that time as well as incurable illness, which caused its going blind by black star.</SPAN> <SPAN class=systran_seg id=seg_37>The girl continued meanwhile regardless of the heavy misfortune, which had concerned her, its piano exercises and brought it, without systematic instruction to have received, so far that she could play small pieces with correct lecture and expression.</SPAN> <SPAN class=systran_seg id=seg_38>The <SPAN class=systran_nfw_source id=nfw_70>Mäzen Josef Anton</SPAN> S. realm baron von <SPAN class=systran_nfw_source id=nfw_71>Beroldingen</SPAN>, <SPAN class=systran_nfw_source id=nfw_72>speierischer Domkapitular</SPAN> and <SPAN class=systran_nfw_source id=nfw_73>Kammerpräsident9</SPAN>, the child heard and found as much to favors at his talent that it transferred it to the <SPAN class=systran_nfw_source id=nfw_74>Karlsruher</SPAN> <SPAN class=systran_nfw_transfer id=nfw_75>Kapellmeister</SPAN> <SPAN class=systran_nfw_source id=nfw_76>Joseph Schmittbauer</SPAN> for training, particularly in the <SPAN class=systran_nfw_source id=nfw_77>Glasharmonika</SPAN>, an instrument, on which the <SPAN class=systran_nfw_transfer id=nfw_78>Kapellmeister</SPAN> not only was <SPAN class=systran_nfw_source id=nfw_79>Virtuose</SPAN>, but which it knew to manufacture also in good execution.</SPAN> <SPAN class=systran_seg id=seg_39><SPAN class=systran_nfw_source id=nfw_80>Beroldingen</SPAN> was not content however with this assistance;</SPAN> <SPAN class=systran_seg id=seg_40>it let yield for to, sound-beautiful instrument obviously much was interested, now about 10 years design old child of <SPAN class=systran_nfw_source id=nfw_81>Schmittbauer10</SPAN> a <SPAN class=systran_nfw_source id=nfw_82>Glasharmonika</SPAN> of the <SPAN class=systran_nfw_source id=nfw_83>Franklin</SPAN> type, for which it the at that time completely extraordinarily high price of 100 <SPAN class=systran_nfw_source id=nfw_84>Speziesdukaten bezahlte.11</SPAN> in more than ten-year study reached <SPAN class=systran_nfw_source id=nfw_85>Mariane</SPAN> now a so high degree of technical perfection, <SPAN class=systran_nfw_source id=nfw_86>Virtuosität</SPAN> on then highest popularity the pleasing instrument that their friends - their father had been retired 1790 with a quiescent benefit of 400 flat steel bars and had to be interested in a financial discharge also therefore - and sponsors, under it the <SPAN class=systran_nfw_source id=nfw_87>markgräfliche</SPAN> yard to Karlsruhe, at which it had repeated itself hear to let, above all however its teacher <SPAN class=systran_nfw_source id=nfw_88>Schmittbauer</SPAN></SPAN> <SPAN class=systran_seg id=seg_41>right held the time to undertake a <SPAN class=systran_nfw_source id=nfw_89>Virtuosenreise</SPAN> in order to prove a their being able and to use at the same time the chance to the acquisition of a fortune.</SPAN> <SPAN class=systran_seg id=seg_42>Main earnings/services at coming off these nearly one decade continuing large art travel possess the <SPAN class=systran_nfw_source id=nfw_90>speierische</SPAN> note printer, music publisher and newspaper publisher <SPAN class=systran_nfw_source id=nfw_91>Heinrich Philipp Bossler12</SPAN>, one of the most interesting personalities of the German music life of those days, which in own business to Vienna traveled at that time and was ready, together with its wife the protection and, as we today would however probably say to take over the management of the young <SPAN class=systran_nfw_source id=nfw_92>Virtuosin</SPAN> whereby he probably also hoped to find its use.</SPAN> <SPAN class=systran_seg id=seg_43>From this travel community however a cordial friendship, those arose up to death for the artist still lasted itself and in agitating care during its last illness <SPAN class=systran_nfw_source id=nfw_93>äusserte.13</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_44>The journey became in February 1791 <SPAN class=systran_nfw_source id=nfw_94>angetreten14</SPAN> and led with stays in Heilbronn, Ludwigsburg and Stuttgart, where concerts were given, to Munich, Salzburg and <SPAN class=systran_nfw_source id=nfw_95>Linz</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_45>In the upper-Austrian state capital it did not play 24. 4 on. the 1791 in the theater alone and with company of <SPAN class=systran_nfw_source id=nfw_96>konzertanten</SPAN> instruments with so large success that newspaper, which contained art and culture messages at that time only rarely brought the Viennese a <SPAN class=systran_nfw_transfer id=nfw_97>korrespondentenbericht</SPAN>, that its <SPAN class=systran_nfw_source id=nfw_98>Entzücken</SPAN> better than by stating an expression Christian <SPAN class=systran_nfw_source id=nfw_99>Fr. Daniel</SPAN> thrust kind</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_46>expresses to be able <SPAN class=systran_nfw_source id=nfw_100>meinte.15</SPAN> now was smoothed it also the soil in Vienna, where she nearly five months was and three times <SPAN class=systran_nfw_source id=nfw_101>konzertierte.16</SPAN> next destination was Prague, where she had her repertoire on 23 October 1791 in the concert hall of the hotel to the bath <SPAN class=systran_nfw_source id=nfw_102>konzertierte.17</SPAN> with their departure from <SPAN class=systran_nfw_source id=nfw_103>Bruchsal</SPAN> predominantly from <SPAN class=systran_nfw_source id=nfw_104>Soli</SPAN>, chamber music and pieces of concert of its friend <SPAN class=systran_nfw_source id=nfw_105>Joh</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_47>F. Christian man or its land man <SPAN class=systran_nfw_source id=nfw_106>Johann Eichhorn18</SPAN> and probably its teacher <SPAN class=systran_nfw_source id=nfw_107>Joseph Schmittbauer</SPAN> existed, then was it in Vienna by the wonderful <SPAN class=systran_nfw_source id=nfw_108>Quintett</SPAN> (<SPAN class=systran_nfw_source id=nfw_109>KV</SPAN> 617) W.A. Mozarts for <SPAN class=systran_nfw_source id=nfw_110>Glasharmonika</SPAN>, flute, oboe, <SPAN class=systran_nfw_source id=nfw_111>Viola</SPAN> and <SPAN class=systran_nfw_transfer id=nfw_112>Violoncello</SPAN>, a <SPAN class=systran_nfw_source id=nfw_113>Adagio</SPAN> for <SPAN class=systran_nfw_source id=nfw_114>Glasharmonika</SPAN> solo (<SPAN class=systran_nfw_source id=nfw_115>KV</SPAN> 356 = <SPAN class=systran_nfw_source id=nfw_116>KV</SPAN> 617a) and different - untraceable - compositions enriched by January <SPAN class=systran_nfw_source id=nfw_117>Wanhall</SPAN>, to those later still the 6 <SPAN class=systran_nfw_source id=nfw_118>Sonaten</SPAN> OI written for it.</SPAN> <SPAN class=systran_seg id=seg_48>4 of <SPAN class=systran_nfw_source id=nfw_119>Johann</SPAN> G. <SPAN class=systran_nfw_source id=nfw_120>Naumann</SPAN> and Werke von <SPAN class=systran_nfw_source id=nfw_121>Anton Reicha</SPAN> stepped.</SPAN> <SPAN class=systran_seg id=seg_49>In Dresden it could play in February 1792 before generally only the cure prince <SPAN class=systran_nfw_source id=nfw_122>Friedrich</SPAN> August</SPAN></SPAN><SPAN class=systran_seg id=seg_49> <SPAN style="FONT-SIZE: 9pt">III.</SPAN> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">with difficulty accessible for <SPAN class=systran_nfw_source id=nfw_123>Virtuosen</SPAN> and by it was richly presented, while its <SPAN class=systran_nfw_source id=nfw_124>Oberkapellmeister Naumann</SPAN>, even a good <SPAN class=systran_nfw_source id=nfw_125>Glasharmonikaspieler</SPAN> could do, it for the best living artist on this instrument and without <SPAN class=systran_nfw_source id=nfw_126>Rivalin erklärte.19</SPAN> in close Leipzig it twice (15. 1. and 10. 2. 1792) in of travelers the artists much desired „extra concerts " in the garb house to arise, on large success <SPAN class=systran_nfw_source id=nfw_127>hindeutet.20</SPAN> in April 1792 we meet what it in Berlin, where it inspired the king <SPAN class=systran_nfw_source id=nfw_128>Friedrich</SPAN> William IL in such a way by its play that it it in four evenings to play into the lock come</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_51>The journey led it then to Hamburg, where it played at the end of of 1792 and by the criticism admired <SPAN class=systran_nfw_source id=nfw_129>wurde21</SPAN>, to Copenhagen and Holland and finally to England, where evenly <SPAN class=systran_nfw_source id=nfw_130>Joseph Haydn</SPAN> stayed at that time for the second time and was celebrated in „the <SPAN class=systran_nfw_source id=nfw_131>Salomon</SPAN> c&lt;-<SUP>concerts</SUP> by the premieres of its <SPAN class=systran_nfw_source id=nfw_132>Londoner</SPAN> symphonies.</SPAN> <SPAN class=systran_seg id=seg_52>In the sixth Salomon concert into the Hanover <SPAN class=systran_nfw_source id=nfw_133>Square Rooms did not debütierte</SPAN> it on 17. the 3. 1794 with one after the time custom in more detail specified <SPAN class=systran_nfw_source id=nfw_134>Quintett</SPAN>, probably that 1791 in Vienna von Mozart for it composed.</SPAN> <SPAN class=systran_seg id=seg_53>The English criticism praised beauty and perfection of its play and regretted only certainly the small striking power and clarity of the tones convenient in the nature of the instrument.</SPAN> <SPAN class=systran_seg id=seg_54>Already in the ninth Salomon concert from 7 April 1794 the blind one could be heard again, this time as a <SPAN class=systran_nfw_source id=nfw_135>Sonate</SPAN>, their composer not indicated <SPAN class=systran_nfw_source id=nfw_136>wird.22</SPAN> you would know one of <SPAN class=systran_nfw_source id=nfw_137>Naumann</SPAN>, of J. Eichhorn or of <SPAN class=systran_nfw_source id=nfw_138>Joseph Schlett</SPAN> for the sentimental instrument written been <SPAN class=systran_nfw_source id=nfw_139>sein.22a</SPAN> supposed has <SPAN class=systran_nfw_source id=nfw_140>Haydn</SPAN>, by that in both concerts „large <SPAN class=systran_nfw_transfer id=nfw_141>Ouvertüren</SPAN> ", thus symphonies, was played, on this occasion also <SPAN class=systran_nfw_source id=nfw_142>Mariane Kirchgessner</SPAN> played heard, like probably of it nothing mentioned its handwritten diary of the second English journey.</SPAN> <SPAN class=systran_seg id=seg_55>Except in the two Salomon concerts it played in addition, in own concerts and 1795, similarly as it the Mozart children 1765 in their hotel did, in its dwelling in pole and <SPAN class=systran_nfw_source id=nfw_143>Street</SPAN> under the <SPAN class=systran_nfw_source id=nfw_144>Patronanz</SPAN> of the <SPAN class=systran_nfw_source id=nfw_145>Duchess</SPAN> OF <SPAN class=systran_nfw_source id=nfw_146>York</SPAN> twice daily against a <SPAN class=systran_nfw_source id=nfw_147>Entre</SPAN> of 5 sports club hears themselves leaving during however in the case both the Mozarts' certainly dropping their former popularity and a change the mode to it had led that the two had to produce themselves last in former times from aristocracy and <SPAN class=systran_nfw_source id=nfw_148>Gentry umworbenen</SPAN> children in a modest hotel, over the residence costs to <SPAN class=systran_nfw_source id=nfw_149>bestreiten24</SPAN> might one with <SPAN class=systran_nfw_source id=nfw_150>Mariane Kirchgessner</SPAN> not wrongly go, if one assumes that these private concerts appearing strange for us had purely commercial purpose and</SPAN> <SPAN class=systran_seg id=seg_56>the high direction of a public, orchestra-accompanied usual concert to save should, particularly since <SPAN class=systran_nfw_source id=nfw_151>recitals</SPAN>, <SPAN class=systran_nfw_source id=nfw_152>Solistenkonzerte</SPAN> on an instrument were not yet common.</SPAN> <SPAN class=systran_seg id=seg_57>The fact that these considerations worked satisfactorily shows the reports of the <SPAN class=systran_nfw_source id=nfw_153>Quellen25</SPAN>, them in London wealth had acquired, which its late the acquisition of a countryseat in <SPAN class=systran_nfw_source id=nfw_154>Gohlis</SPAN> made possible with Leipzig.</SPAN> <SPAN class=systran_seg id=seg_58>The blind one had to regret their stay in the metropolis in addition, otherwise not and one understands that it expanded him until 1796.</SPAN> <SPAN class=systran_seg id=seg_59>Here she found that German mechanic <SPAN class=systran_nfw_source id=nfw_155>Fröschel</SPAN> (also <SPAN class=systran_nfw_source id=nfw_156>Fröschle</SPAN>), who built it either a new and therefore substantially <SPAN class=systran_nfw_source id=nfw_157>lautstärkere Glasharmonika</SPAN> provided with a resonance soil, or this improvement at its past, from the workshop <SPAN class=systran_nfw_source id=nfw_158>Schmitt</SPAN> <SPAN class=systran_nfw_source id=nfw_159>bauers</SPAN> coming instrument attached.</SPAN> <SPAN class=systran_seg id=seg_60>This <SPAN class=systran_nfw_source id=nfw_160>Fröschei</SPAN> instrument it then always on its art journeys with itself led and up to its dying <SPAN class=systran_nfw_source id=nfw_161>benutzt.26</SPAN> in London was it also that it treated an optician Dr. Fiedler - probably also a native German - with „eye landing on water " so successfully that he could return it without operational interference at least one light light and the ability, the outlines and colors from articles to <SPAN class=systran_nfw_source id=nfw_162>erkennen.27</SPAN> is required also in relation to such reports from the before-scientific time of the medicine restraint and exists no uniform view of the physicians also here over the case, then it was appropriate nevertheless obviously substantially differently than that Maria <SPAN class=systran_nfw_source id=nfw_163>Theresia</SPAN> <SPAN class=systran_nfw_transfer id=nfw_164>Paradis</SPAN>, that the famous <SPAN class=systran_nfw_source id=nfw_165>Psychotherapeut</SPAN> Dr. <SPAN class=systran_nfw_source id=nfw_166>Franz Anton Mesmer</SPAN> had not been able through</SPAN> <SPAN class=systran_seg id=seg_61>its „<SPAN class=systran_nfw_source id=nfw_167>animalischen</SPAN> magnetism " continuously vision to return, a success that certainly also the modest <SPAN class=systran_nfw_source id=nfw_168>Londoner</SPAN> physician remained malfunctioned.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_62>In November 1796 already was it the continent and concentrated successfully in Hamburg.</SPAN> <SPAN class=systran_seg id=seg_63>Whether it continued to travel from there directly or only after a longer recovery break over Denmark and Northern Germany to Russia, can be recognized not surely.</SPAN> <SPAN class=systran_seg id=seg_64>If the report should apply of the <SPAN class=systran_nfw_source id=nfw_169>Braunschweigi</SPAN> magazine No. 14 of 1801 that it traveled from Hamburg first - naturally for concert purposes - to Copenhagen, from there Luebeck, <SPAN class=systran_nfw_source id=nfw_170>Mecklenburg</SPAN>, <SPAN class=systran_nfw_source id=nfw_171>Pommern</SPAN>, Ostpreussen, cure country and live country, then this travel a <SPAN class=systran_nfw_source id=nfw_172>Parforceleistung</SPAN> continuing with the condition at that time of the roads and means of transport particularly unfavorable in Northern Germany very cumbersome and several weeks would represent and would make it understandable that it seven months in Petersburg was.</SPAN> <SPAN class=systran_seg id=seg_65>Also the return journey over the Baltic provinces of Russia, East Prussia, Poland, <SPAN class=systran_nfw_source id=nfw_173>Schlesien</SPAN> and over the border mountains and the <SPAN class=systran_nfw_source id=nfw_174>Lausitz</SPAN> to Saxonia was hardly a smaller effort, even in the good season.</SPAN> <SPAN class=systran_seg id=seg_66>With these Russian <SPAN class=systran_nfw_source id=nfw_175>Exkursion</SPAN> however their travel activity had exceeded the high point.</SPAN> <SPAN class=systran_seg id=seg_67>After nearly ten-year stay on the highways and in the music cities of Europe it sat down now 1799 together with its friends <SPAN class=systran_nfw_source id=nfw_176>Bossler</SPAN> in the <SPAN class=systran_nfw_source id=nfw_177>Dorfe</SPAN> at that time <SPAN class=systran_nfw_source id=nfw_178>Gohlis</SPAN> (today a northern suburb of Leipzig) on a countryseat to the peace, which it could purchase from the English <SPAN class=systran_nfw_source id=nfw_179>Ersparnissen28</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_68>During the travel decade it fame, had not only acquired fortunes and European validity but also <SPAN class=systran_nfw_source id=nfw_180>Fasch</SPAN>, J. <SPAN class=systran_nfw_source id=nfw_181>Haydn</SPAN>, F. hoping master, W.A. Mozart, J.G. <SPAN class=systran_nfw_source id=nfw_182>Naumann</SPAN>, A. <SPAN class=systran_nfw_source id=nfw_183>Salieri</SPAN>, K.F. <SPAN class=systran_nfw_source id=nfw_184>Reichardt</SPAN>, J. <SPAN class=systran_nfw_source id=nfw_185>Vanhall</SPAN> to learn opportunity had, from those several among other things know a number of large musicians of the epoch, like <SPAN class=systran_nfw_source id=nfw_186>Clementi</SPAN>, for them compositions wrote and the blind one thereby on the piano <SPAN class=systran_nfw_source id=nfw_187>begleiteten.29</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_69>Into that their address in <SPAN class=systran_nfw_source id=nfw_188>Gohlis</SPAN> (around 1800) the following years undertook it only more a concert travel to Stuttgart (1802), where it played on 16 January in a concert led by J.H. <SPAN class=systran_nfw_source id=nfw_189>Zumsteeg</SPAN> and still in an academy in favor of the survivors of this on the following day suddenly the deceased important <SPAN class=systran_nfw_source id=nfw_190>Balladenkomponisten</SPAN> participated.</SPAN> <SPAN class=systran_seg id=seg_70>The war events intervened twice in their life.</SPAN> <SPAN class=systran_seg id=seg_71>First as it at the end of of 1805 to Vienna applied, over after completing a concert activity in the Danube city to Italy further to iron, but by the Austrian-French war in Vienna some months was held and in April a concert to only give and to an academy in <SPAN class=systran_nfw_source id=nfw_191>k.k</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_72>Castle theater to participate could.</SPAN> <SPAN class=systran_seg id=seg_73>Returned home without their Italy plans to have carried out, it reached the war in their new homeland <SPAN class=systran_nfw_source id=nfw_192>Gohlis</SPAN>, when after the exit of the campaign of 1806 Hussars, unfortunate for the Saxonia fighting on side of Prussia, it was Frenchman or <SPAN class=systran_nfw_source id=nfw_193>marodierende</SPAN> Saxonian departments, published on its countryseat and they treated „hard ", thus obviously <SPAN class=systran_nfw_source id=nfw_194>plünderten</SPAN> and them threatened.</SPAN> <SPAN class=systran_seg id=seg_74>Certainly it is possible that the <SPAN class=systran_nfw_source id=nfw_195>zartbesaitete</SPAN> woman suffered a shock by this raw treatment.</SPAN> <SPAN class=systran_seg id=seg_75>Meanwhile she recovered soon so far that she prepared still another new <SPAN class=systran_nfw_source id=nfw_196>Kunstfahrt30</SPAN> - it should become their the latter -, it in <SPAN class=systran_nfw_source id=nfw_197>Bosslers</SPAN> company across South Germany into Switzerland to lead itself should to Zurich, <SPAN class=systran_nfw_source id=nfw_198>Luzern</SPAN> and <SPAN class=systran_nfw_source id=nfw_199>Yverdon</SPAN> at the new citizen lake, where <SPAN class=systran_nfw_source id=nfw_200>Pestalozzi</SPAN> lived, which she, equipped with recommendation letters, wanted to visit.</SPAN> <SPAN class=systran_seg id=seg_76>Over this journey however a <SPAN class=systran_nfw_source id=nfw_201>Unstern</SPAN> <SPAN class=systran_nfw_source id=nfw_202>waltete</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_77>Still it could on 15. the 11. 1808 in Stuttgart, where it spoke among other things a solo one of <SPAN class=systran_nfw_source id=nfw_203>Antonin Reicha</SPAN> and a <SPAN class=systran_nfw_source id=nfw_204>Sonate</SPAN> of <SPAN class=systran_nfw_source id=nfw_205>Cherubini</SPAN>, as well as on 27. the 11. 1808 in Tübingen <SPAN class=systran_nfw_source id=nfw_206>konzertieren</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_78>Notion-fully it played J.S. Bachs <SPAN class=systran_nfw_source id=nfw_207>Choral</SPAN> here „which God does, that is done good ", because it carried already the death germ in itself.</SPAN> <SPAN class=systran_seg id=seg_79>With a <SPAN class=systran_nfw_transfer id=nfw_208>Wagenfahrt</SPAN> for the attendance of its of Baden brother living in desert home as a civil servant, whom she had not for many years any longer seen, it drew at a cold, <SPAN class=systran_nfw_source id=nfw_209>nebeligen</SPAN> November night, while it had to wait on free field for the repair of a car defect, a heavy cold too, which neglects, apparent, worsened.</SPAN> <SPAN class=systran_seg id=seg_80>After the <SPAN class=systran_nfw_source id=nfw_210>Tübinger</SPAN> concert continued to travel it with snow and cold weather, arrived on 2. 12. the 1808 at work living, where however already the first signs of a pneumonia adjusted themselves, to which the art of the physicians had not been up to at that time yet.</SPAN> <SPAN class=systran_seg id=seg_81>After illness, improvement of several days and back cases the patient recognized Ernst of her condition, left from the monastery <SPAN class=systran_nfw_transfer id=nfw_211>Paradies</SPAN> an r. </SPAN><SPAN class=systran_seg id=seg_82>- k.</SPAN> <SPAN class=systran_seg id=seg_83>Religious ones come, put it the <SPAN class=systran_nfw_source id=nfw_212>Beichte</SPAN> down, asked in its garden to be buried and died, by H. pH.</SPAN> <SPAN class=systran_seg id=seg_84><SPAN class=systran_nfw_source id=nfw_213>Bossler</SPAN> faithfully <SPAN class=systran_nfw_source id=nfw_214>umsorgt</SPAN>, to 9. 12. against 1/2 9 o'clock in the evening.</SPAN> <SPAN class=systran_seg id=seg_85>In accordance with their desire it <SPAN class=systran_nfw_source id=nfw_215>was bestattet</SPAN> on 13. 12. the 1808 under a mourning escort at the layman cemetery of the monastery, consisting of music lovers of work living.</SPAN> <SPAN class=systran_seg id=seg_86>The grave is equal that one their suffering and art companion M. <SPAN class=systran_nfw_source id=nfw_216>Th</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_87><SPAN class=systran_nfw_transfer id=nfw_217>Paradis</SPAN> and the W.A. Mozarts <SPAN class=systran_nfw_source id=nfw_218>verschollen</SPAN> - in the earth <SPAN class=systran_nfw_source id=nfw_219>versunken.31</SPAN> in the general musical newspaper a short appreciation appeared and in following May from the feather/spring H. pH in January 1809.</SPAN> <SPAN class=systran_seg id=seg_88><SPAN class=systran_nfw_source id=nfw_220>Bosslers</SPAN> a <SPAN class=systran_nfw_source id=nfw_221>Nekrolog</SPAN>, which was meant as fragment (never published) of a biography.</SPAN> <SPAN class=systran_seg id=seg_89><SPAN class=systran_nfw_transfer id=nfw_222>Gerber</SPAN> wrote then in his new one to historically biographic clay/tone artist encyclopedia (1813) the first detailed biography, on that essentially all later encyclopedias the 19.</SPAN> <SPAN class=systran_seg id=seg_90>Century are based.</SPAN> <SPAN class=systran_seg id=seg_91>As supplement to volume</SPAN></SPAN><SPAN class=systran_seg id=seg_91> <SPAN style="FONT-SIZE: 9pt"><SPAN class=systran_nfw_source id=nfw_223>XI</SPAN> the</SPAN> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_nfw_source id=nfw_224>AMZ</SPAN> (frame 368) published the Czech composer <SPAN class=systran_nfw_source id=nfw_225>Wenzel Tomaschek</SPAN> a <SPAN class=systran_nfw_source id=nfw_226>fugiertes</SPAN> strange piece of clay/tone „<SPAN class=systran_nfw_source id=nfw_227>Fantasie</SPAN> for the <SPAN class=systran_nfw_transfer id=nfw_228>Harmonika</SPAN> at the grave of the <SPAN class=systran_nfw_source id=nfw_229>Dlle Kirchgessner</SPAN> so much earned around this instrument ", hardly less pedantically and <SPAN class=systran_nfw_source id=nfw_230>pedantisch</SPAN> than its title.</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_92>It is already interesting because it is one of the few received pieces for missing persons the instrument, in addition, because it forms a proof for it that the memory of the large <SPAN class=systran_nfw_source id=nfw_231>Virtuosin</SPAN> was still alive in Prague, where <SPAN class=systran_nfw_source id=nfw_232>Tomaschek</SPAN> may have heard it with their concert 1791.</SPAN> <SPAN class=systran_seg id=seg_93>The men, who had praised their play in admiring words, like <SPAN class=systran_nfw_source id=nfw_233>Johann</SPAN> G. <SPAN class=systran_nfw_source id=nfw_234>Naumann</SPAN> and Christian D. <SPAN class=systran_nfw_source id=nfw_235>Schubart32</SPAN>, had already died before it, its faithful friend and travel companion H. pH.</SPAN> <SPAN class=systran_seg id=seg_94><SPAN class=systran_nfw_source id=nfw_236>Bossler</SPAN> followed their already 1812 in death.</SPAN> <SPAN class=systran_seg id=seg_95>And in such a way remained soon only the <SPAN class=systran_nfw_source id=nfw_237>papierene</SPAN> immortality of the music encyclopedias, which brought their name on future generations.</SPAN> <SPAN class=systran_seg id=seg_96>It is, as the French proverb says:</SPAN> <SPAN class=systran_seg id=seg_97>„<SPAN class=systran_nfw_source id=nfw_238>Quand</SPAN> on <SPAN class=systran_nfw_source id=nfw_239>est mort</SPAN>, <SPAN class=systran_nfw_source id=nfw_240>c'est pour longtemps</SPAN>. “</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_98>We know few from their private life and possess, are also so strange, no picture of their outside feature, although them at fame certainly M. <SPAN class=systran_nfw_source id=nfw_241>Th</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_99><SPAN class=systran_nfw_transfer id=nfw_242>Paradis</SPAN> not <SPAN class=systran_nfw_source id=nfw_243>nachstand33</SPAN> and twice in Vienna for months lived, where nevertheless except considerable haven guessingists also <SPAN class=systran_nfw_source id=nfw_244>Hieronymus</SPAN> deletion Kohl, which <SPAN class=systran_nfw_transfer id=nfw_245>Bildreporter</SPAN> of that epoch worked, which hardly an opportunity missed, interesting events and personalities with its pin <SPAN class=systran_nfw_source id=nfw_246>festzuhalten.34</SPAN> there it never in the center of a large scandal, like M. <SPAN class=systran_nfw_source id=nfw_247>Th</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_100><SPAN class=systran_nfw_transfer id=nfw_248>Paradis</SPAN> by the <SPAN class=systran_nfw_source id=nfw_249>psychotherapeutische</SPAN> treatment Dr. F failed. A. <SPAN class=systran_nfw_source id=nfw_250>Mesmers</SPAN>, also the newspapers of the epoch were concerned just as little with its person as after their death the <SPAN class=systran_nfw_source id=nfw_251>Belletristik.35</SPAN> in such a way are we on few short notes dependant, particularly on the announcement of their death in the <SPAN class=systran_nfw_source id=nfw_252>AM2</SPAN> 1809/15 and H. pH.</SPAN> <SPAN class=systran_seg id=seg_101><SPAN class=systran_nfw_source id=nfw_253>Bosslers Nekrolog</SPAN> from 10. 5. the 1809 in the same magazine, and also this give more details over their artistic personality, particularly over their <SPAN class=systran_nfw_source id=nfw_254>Harmonikaspiel</SPAN>, their musical taste and their <SPAN class=systran_nfw_transfer id=nfw_255>Lernmethode</SPAN> than over a character, kind of nature and life habits.</SPAN> <SPAN class=systran_seg id=seg_102>Despite an occasional, very understandable attraction barness it carried its heavy lot calm and with quiet <SPAN class=systran_nfw_source id=nfw_256>Resignation36</SPAN>, was friendly, obliging and free from artist moods.</SPAN> <SPAN class=systran_seg id=seg_103>From their except-musical knowledge and abilities we hardly know something, above all not, whether it was speak-well-informed and which interest took it at its environment and it to surrounding living conditions questions about which we in case of M. <SPAN class=systran_nfw_source id=nfw_257>Th</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_104><SPAN class=systran_nfw_transfer id=nfw_258>Paradis</SPAN> very exactly informed are.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_105>It obviously did not control at that time the techniques of the blind and/or blind notation already existing and new pieces studied it, by being able to be played the same so long on the piano, until she knew her owing to her above average good hearing by heart.</SPAN> <SPAN class=systran_seg id=seg_106>Hand printering or a note typesetting machine, as friends invented it for the blind <SPAN class=systran_nfw_transfer id=nfw_259>Paradis</SPAN>, learned and used those them rapidly to control, obviously never possessed the <SPAN class=systran_nfw_source id=nfw_260>Kirchgessner</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_107>Only one interest in literature is <SPAN class=systran_nfw_source id=nfw_261>überliefert37</SPAN>, which could be read out it gladly, certainly without we their taste in this section knows.</SPAN> <SPAN class=systran_seg id=seg_108>Above all however it tried to never pass their large art on pupils, it never in the educational subject operated and also never <SPAN class=systran_nfw_source id=nfw_262>komponiert.38</SPAN> your mental rain SAMness and general education stayed certainly considerably behind that one that <SPAN class=systran_nfw_transfer id=nfw_263>Paradis</SPAN>, whose rounded off, balanced and very active personality obviously never reached her.</SPAN> <SPAN class=systran_seg id=seg_109>That is connected particularly with its origin from modest conditions in a small South German province small town, incomparably moves and intensive influences, which affected in <SPAN class=systran_nfw_source id=nfw_264>theresianischen</SPAN> and <SPAN class=systran_nfw_source id=nfw_265>josefinischen</SPAN> Vienna the versatile and finely educated daughter of the yard secretary J.A. <SPAN class=systran_nfw_transfer id=nfw_266>Paradis</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_110>In addition, it had not the luck with personalities such as F.S. <SPAN class=systran_nfw_source id=nfw_267>Greiner</SPAN>, Wolfgang v. <SPAN class=systran_nfw_source id=nfw_268>Kempelen</SPAN>, <SPAN class=systran_nfw_source id=nfw_269>Antonio Salieri</SPAN>, Dr. <SPAN class=systran_nfw_source id=nfw_270>Franz</SPAN> A. <SPAN class=systran_nfw_source id=nfw_271>Mesmer</SPAN> and the many <SPAN class=systran_nfw_source id=nfw_272>josefinischen</SPAN> poets, like <SPAN class=systran_nfw_source id=nfw_273>Retzer</SPAN>, <SPAN class=systran_nfw_source id=nfw_274>Alxinger</SPAN>, to operate <SPAN class=systran_nfw_source id=nfw_275>Denis</SPAN> which formed their spirit, their intelligence to sharpen could.</SPAN> <SPAN class=systran_seg id=seg_111>An event however contains its moved, but nevertheless not very detailled life, around which it would have perhaps envied the <SPAN class=systran_nfw_transfer id=nfw_276>Paradis</SPAN>:</SPAN> <SPAN class=systran_seg id=seg_112>their acquaintance with Goethe.</SPAN> <SPAN class=systran_seg id=seg_113>The diaries of the <SPAN class=systran_nfw_source id=nfw_277>Olympiers39</SPAN> are occupied in two places with the <SPAN class=systran_nfw_source id=nfw_278>Kirchgessner</SPAN>, which it visited to 29. 6. and 28. 7. 1808 during a bath stay in Karl bath.</SPAN> <SPAN class=systran_seg id=seg_114>To 29. 6. it played their <SPAN class=systran_nfw_source id=nfw_279>illustren</SPAN> guest of some on the <SPAN class=systran_nfw_transfer id=nfw_280>Harmonika</SPAN>, to 28. 7. fed it with it.</SPAN> <SPAN class=systran_seg id=seg_115>Whether and on which kind the acquaintance was justified, is not well-known, since these two notes are the only one (become admits to me), in which the name of the <SPAN class=systran_nfw_source id=nfw_281>Kirchgessner</SPAN> is called.</SPAN> <SPAN class=systran_seg id=seg_116>Goethe's universal interest in its environment into its outstanding <SPAN class=systran_nfw_source id=nfw_282>Erscheinungen40</SPAN>, which him particularly in the <SPAN class=systran_nfw_source id=nfw_283>böhmischen</SPAN> baths, where he was released from affairs of state, with important or also only attractive personalities feeling take up let, likes it induced have to learn to know the famous <SPAN class=systran_nfw_transfer id=nfw_284>Harmonika</SPAN> <SPAN class=systran_nfw_source id=nfw_285>virtuosin</SPAN> which had at the same time visited the world health resort with it.</SPAN> <SPAN class=systran_seg id=seg_117>Unfortunately we do not know, how Goethe expressed himself over the blind one and to what extent it was impressed by their person and its play.</SPAN> <SPAN class=systran_seg id=seg_118>If the often quoted, unfortunately so far pour-moderately provable <SPAN class=systran_nfw_source id=nfw_286>Wort41</SPAN>, it does not hear the heart blood of the world from the chords held of the <SPAN class=systran_nfw_transfer id=nfw_287>harmonika</SPAN>, really of Goethe comes, then it likes at such an opportunity pleases to be, like probably it neither in its letters nor in its maintenances is noted.</SPAN> <SPAN class=systran_seg id=seg_119>Perhaps <SPAN class=systran_nfw_source id=nfw_288>Mariane Kirchgessner</SPAN> died in due time, in order no more in the following the decade not using and fall of its disputed spirit life <SPAN class=systran_nfw_source id=nfw_289>angeschwärmten</SPAN>, later than thinly, European carried out around 1830, of a whole epoch, poorly and clay-poor designated instrument to experience, of simpler, cheaper and instruments, particularly from the <SPAN class=systran_nfw_transfer id=nfw_290>Harmonium</SPAN> and the harmonica, which can be handled more easily, was displaced.</SPAN> <SPAN class=systran_seg id=seg_120>Their own precious instrument is likewise <SPAN class=systran_nfw_source id=nfw_291>verschollen</SPAN>, as that one, which saved Dr. <SPAN class=systran_nfw_source id=nfw_292>Franz</SPAN> A. <SPAN class=systran_nfw_source id=nfw_293>Mesmer</SPAN> by all storms of its life until its dying place Meersburg.</SPAN> <SPAN class=systran_seg id=seg_121>Probably it divided the lot of most of these precious-frail instruments to be slowly broken to always disappear and in a <SPAN class=systran_nfw_source id=nfw_294>Rumpelkammer</SPAN>.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_122>Vienna means an important station in the life of the <SPAN class=systran_nfw_source id=nfw_295>Kirchgessner</SPAN>:</SPAN> <SPAN class=systran_seg id=seg_123>without their sensational successes of 1791, without which interest W would have. A. Mozarts, who wrote the most valuable and most famous piece for <SPAN class=systran_nfw_source id=nfw_296>Glasharmonika</SPAN> for it, their west and northEuropean art journey hardly the piercing success obtained, which led it to celebrity.</SPAN> <SPAN class=systran_seg id=seg_124>And their last large travel led it the Danube and to new triumphs.</SPAN> <SPAN class=systran_seg id=seg_126>But it clearly speaks from that</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_127>admitted to Eipeldauer letters, this echo of the public opinion of Vienna, if it <SPAN class=systran_nfw_source id=nfw_297>sagen42</SPAN>:</SPAN> <SPAN class=systran_seg id=seg_128>„A famous <SPAN class=systran_nfw_source id=nfw_298>Harmonikaspielerin</SPAN> could a popular actress (<SPAN class=systran_nfw_source id=nfw_299>Mme</SPAN> rose) there be heard and in addition <SPAN class=systran_nfw_source id=nfw_300>deklamiert</SPAN> there, and there we heard a true harmonious bell play. “</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_129>Thus of Vienna thought people of the largest <SPAN class=systran_nfw_source id=nfw_301>Harmonikaspielerin</SPAN> of their - perhaps all - times, and so it, the oblivion earns <SPAN class=systran_nfw_source id=nfw_302>entrissen</SPAN> to become.</SPAN></SPAN> <o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_130>IL section</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_131>The <SPAN class=systran_nfw_source id=nfw_303>GLASHARMONIKA</SPAN> novel of an instrument</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 8pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_132>„The effect of the instrument borders on the marvelous and it is that if it should be lost again, the narration of it for the future would be probable, which the history of the lyra of the <SPAN class=systran_nfw_source id=nfw_304>Orpheus</SPAN> for us is ".</SPAN> <SPAN class=systran_seg id=seg_133>K.L. <SPAN class=systran_nfw_source id=nfw_305>Röllig</SPAN>, over the <SPAN class=systran_nfw_source id=nfw_306>Glasharmonika</SPAN>, a fragment.</SPAN> <SPAN class=systran_seg id=seg_134>Berlin.</SPAN> 1787.</SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_136>Only in individual, usually defective and <SPAN class=systran_nfw_source id=nfw_307>unspielbaren</SPAN> copies this strange and much <SPAN class=systran_nfw_source id=nfw_308>fristet</SPAN> admired instrument of the feeling seeds time, which was called by the contemporaries - before invention of the harmonica and the <SPAN class=systran_nfw_transfer id=nfw_309>Harmoniums</SPAN> - absolutely „<SPAN class=systran_nfw_transfer id=nfw_310>Harmonika</SPAN> ", a <SPAN class=systran_nfw_source id=nfw_311>museales</SPAN> existence.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_137>Its forerunner, the probably from China coming, over the middle and front <SPAN class=systran_nfw_source id=nfw_312>Orient</SPAN> to Europe arrived „to glass play " (<SPAN class=systran_nfw_source id=nfw_313>verillon</SPAN>, musical of <SPAN class=systran_nfw_source id=nfw_314>glasses</SPAN>) enjoyed particularly in the England 18.</SPAN> <SPAN class=systran_seg id=seg_138>Century of large <SPAN class=systran_nfw_source id=nfw_315>Beliebtheit1</SPAN>, and <SPAN class=systran_nfw_source id=nfw_316>Virtuosen</SPAN>, like the Irish smelling pool of broadcasting corporations <SPAN class=systran_nfw_source id=nfw_317>Puckeridge</SPAN>, its pupil <SPAN class=systran_nfw_source id=nfw_318>Ann</SPAN> Ford and E.H. <SPAN class=systran_nfw_source id=nfw_319>Delaval</SPAN>, were able on the water-filled <SPAN class=systran_nfw_source id=nfw_320>to konzertieren</SPAN> differently large <SPAN class=systran_nfw_transfer id=nfw_321>Gläsern</SPAN> by fastening with a <SPAN class=systran_nfw_source id=nfw_322>Stöckchen</SPAN> or rubbing with the fingertips.</SPAN> <SPAN class=systran_seg id=seg_139>Luck could be heard in London and Copenhagen on the musical <SPAN class=systran_nfw_source id=nfw_323>glasses</SPAN> publicly, and <SPAN class=systran_nfw_source id=nfw_324>Benjamin Franklin</SPAN> (1706-1790), the famous physicist and statesman, which had come 1756 in affairs of state to London and <SPAN class=systran_nfw_source id=nfw_325>Puckeridge</SPAN> had heard, received here the suggestion to experiments, which should improve the primitive glass play and increase its musical value substantially.</SPAN> <SPAN class=systran_seg id=seg_140>In attempts of several years <SPAN class=systran_nfw_source id=nfw_326>Franklin</SPAN> developed around 1762 - perhaps already 1761 - from the musical of the <SPAN class=systran_nfw_source id=nfw_327>glasses</SPAN> new <SPAN class=systran_nfw_source id=nfw_328>Glasharmonika2</SPAN>, by setting a rotary friction instrument in place of the individual glasses, whose tendency changed by evaporating or burying its water filling easily, „around the glasses more suitably and more near to arrange, a larger number of tones to bring out to be able and the whole for the player sitting before the instrument more comfortably furnish ". </SPAN><SPAN class=systran_seg id=seg_141>It set glass bowls (<SPAN class=systran_nfw_transfer id=nfw_329>Kalotten</SPAN>) for <SUP>3</SUP> in place of the glasses, which were so into one another interlocked lined up their tendency continuously <SPAN class=systran_nfw_source id=nfw_330>beibehielten4</SPAN> and on an axle resting in two camps after size the fact that they did not affect each other but up to a finger-broad edge covered.</SPAN> <SPAN class=systran_seg id=seg_142>With this edge in each case the next lower bowl protruded from the larger <SPAN class=systran_nfw_source id=nfw_331>gereihten</SPAN> before it</SPAN></SPAN><SPAN class=systran_seg id=seg_142> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">(and deeper), so that a conical thing developed, which built <SPAN class=systran_nfw_source id=nfw_332>Franklin</SPAN> into a lockable secretary-like container.</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_143>A flywheel fastened to the wave stood by a cord with a pedal-like footboard in connection, by whose manipulation of the glass cones in the direction away from the player in circulation one shifted.</SPAN> <SPAN class=systran_seg id=seg_144>The sitting the player before the instrument rubs now with the moistened fingertips the rotary glass bowls and produces by it the clay/tone, its strength and quality it by <SPAN class=systran_nfw_transfer id=nfw_333>Vermehrung</SPAN> or reduction of the pressure, in addition, by change of the peripheral speed of the glass cone up to certain degrees <SPAN class=systran_nfw_source id=nfw_334>kann.5</SPAN> modifies for the easier orientation of the player on first only equipped instrument with 24 glass bowls and an extent of g-g the " provided <SPAN class=systran_nfw_source id=nfw_335>Franklin</SPAN> the <SPAN class=systran_nfw_source id=nfw_336>diatonischen</SPAN> bowls with a painting in the colors of the solar spectrum, which. <SPAN class=systran_nfw_source id=nfw_337>Röllig</SPAN>, which was concerned two decades later intensively with the improvement of the <SPAN class=systran_nfw_source id=nfw_338>Glasharmonika</SPAN>, eliminated chromatic with a white <SPAN class=systran_nfw_source id=nfw_339>Rand.6</SPAN> K.L the coat of paint, because he regarded him as the clay/tone quality unfavorably, and occupied</SPAN> <SPAN class=systran_seg id=seg_145>only the half-tones, which corresponded to the black piano keys, with golden strips.</SPAN> <SPAN class=systran_seg id=seg_146><SPAN class=systran_nfw_source id=nfw_340>Franklin</SPAN>, which played even the new instrument very well, gave it to the Englishwoman <SPAN class=systran_nfw_source id=nfw_341>Marianne Davies7</SPAN>, which soon a recognized <SPAN class=systran_nfw_source id=nfw_342>Virtuosin wurd</SPAN> and the <SPAN class=systran_nfw_transfer id=nfw_343>Harmonika</SPAN> on the continent (Paris 1765, Vienna 1773) with large success publicly demonstrated, while in England the glass play further maintained ground, even the recent instrument outlasted.</SPAN> <SPAN class=systran_seg id=seg_147>Soon the extent of the <SPAN class=systran_nfw_source id=nfw_344>Glasharmonika</SPAN> was extended, first of <SPAN class=systran_nfw_source id=nfw_345>Joseph Alois Schmittbauer</SPAN> in Karlsruhe, which equipped it with particularly selected <SPAN class=systran_nfw_transfer id=nfw_346>crystal kristallgläsern</SPAN> and which extent expanded since C-f ''', later even C ''''.</SPAN> <SPAN class=systran_seg id=seg_148>To whom an important is due improvement, i.e. the attachment of a water tank underneath the glass cone, which the glass bowls pass with each revolution and so already moistened at the fingertips of the player arrive, is to not <SPAN class=systran_nfw_source id=nfw_347>bekannt.8 Franklins</SPAN> instrument possessed thus against other reports already a chromatic scale, was not however because of the number becoming more largely with each extent extension</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><B><I><SPAN style="FONT-SIZE: 11pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_149>Berlin 1787.</SPAN></SPAN></I></B><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><B><I><SPAN style="FONT-SIZE: 7pt; FONT-FAMILY: Arial; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_150>- <SPAN class=systran_nfw_source id=nfw_348>jnasrr</SPAN></SPAN></SPAN></I></B><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
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<DIV class=Section3>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_151>to play from <SPAN class=systran_nfw_transfer id=nfw_349>Kalotten</SPAN> certainly easily.</SPAN> <SPAN class=systran_seg id=seg_152>The invention of the Belgian <SPAN class=systran_nfw_source id=nfw_350>Joseph Deudon</SPAN> (Paris 1786), which attached moistened <SPAN class=systran_nfw_transfer id=nfw_351>Tuchstreifen</SPAN>, which made the wetting of the finger crests dispensable between fingers and glass bowls, in addition, inserted a shift (feeder), which it should make possible to play also in cross and <SPAN class=systran_nfw_source id=nfw_352>B-</SPAN><SPAN class=systran_nfw_source id=nfw_353>Tonarten</SPAN> easily seems oneself proven to <SPAN class=systran_nfw_source id=nfw_354>haben.9</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_153>In this shape the instrument for slow speeds, chords held and pieces without strong modulation was quite suitably, less against it for rapid pieces, for runs, manners, trills and from the piano taken over passages.</SPAN> <SPAN class=systran_seg id=seg_154>Master of the <SPAN class=systran_nfw_transfer id=nfw_355>Harmonika</SPAN> such as <SPAN class=systran_nfw_source id=nfw_356>Joseph</SPAN> pH.</SPAN> <SPAN class=systran_seg id=seg_155><SPAN class=systran_nfw_source id=nfw_357>Frick</SPAN>, <SPAN class=systran_nfw_source id=nfw_358>Marianne Davies</SPAN> and late <SPAN class=systran_nfw_source id=nfw_359>Mariane Kirchgessner</SPAN> were able to master however these difficulties and also the chord play controlled them perfectly.</SPAN> <SPAN class=systran_seg id=seg_156>More than with other instruments hung however here feasibility and sound beauty both of being able the player, how of the instrument used by the quality <SPAN class=systran_nfw_source id=nfw_360>ab.10</SPAN> and was now the sound of this unusual instrument, which is entmaterialisiert praised of the one as ethereally, sphere detention, called poorly, sentimentally and nerve-up-attractive of other one, which applied for some police authorities as so dangerously that it was forbidden short hand?</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_157>Still the museums of European and American cities retain individual copies, but their small number by the Second World War and its accompaniments were recently strongly decreased.</SPAN> <SPAN class=systran_seg id=seg_158>Only very few are still playable and still rarer are a specialist, who must examine the reports of the contemporaries, who could hear the instrument still in its gloss time on them to play <SPAN class=systran_nfw_source id=nfw_361>weiss.11</SPAN> we therefore.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_159>A delimitation of its sound effect resulted already from it that it possessed no bass notes and - so differently the individual <SPAN class=systran_nfw_source id=nfw_362>Harmonikabauer</SPAN> also its extent set - rarely under f, exeptionally to C down-handed, but however many high overtones exhibited.</SPAN> <SPAN class=systran_seg id=seg_160>The <SPAN class=systran_nfw_source id=nfw_363>Sext</SPAN> was usually the extreme attainable tension, and small <SPAN class=systran_nfw_source id=nfw_364>Septen</SPAN> the <SPAN class=systran_nfw_transfer id=nfw_365>Oktave</SPAN> coated by the unpainted into was their uncomfortable situation because of with difficulty to</SPAN></SPAN><SPAN class=systran_seg id=seg_160> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_nfw_source id=nfw_366>spielen.12</SPAN> also the execution of <SPAN class=systran_nfw_transfer id=nfw_367>Triolen</SPAN> difficulties, likewise chords in the far situation, met, although straight these were particularly appropriate for the character of the <SPAN class=systran_nfw_transfer id=nfw_368>Harmonika</SPAN>.</SPAN></SPAN><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <SPAN class=systran_seg id=seg_161>A standard work such as Mozart <SPAN class=systran_nfw_source id=nfw_369>Quintett KV</SPAN> 617 is so rich at such and other technical difficulties that the opinion develop for <SPAN class=systran_nfw_source id=nfw_370>konnte13</SPAN>, the <SPAN class=systran_nfw_source id=nfw_371>Kirchgessner</SPAN> has itself, in order to be able to speak it (and professionally manufactured at that time already admitted) a palpation (piano) <SPAN class=systran_nfw_transfer id=nfw_372>Harmonika</SPAN> served.</SPAN> <SPAN class=systran_seg id=seg_162>However apart from the fact that Mozart, who knows 1773 the instrument in the house Dr. F.A. <SPAN class=systran_nfw_source id=nfw_373>Mesmers</SPAN> had learned and on him had played <SPAN class=systran_nfw_transfer id=nfw_374>zugemutet</SPAN> never virtually impracticable to a <SPAN class=systran_nfw_source id=nfw_375>Virtuosen</SPAN>, and even the critic of the <SPAN class=systran_nfw_source id=nfw_376>AM2</SPAN> grants, the part is, although not easy <SPAN class=systran_nfw_source id=nfw_377>to exekutieren</SPAN> so nevertheless well and would be at the most some well not lying places to rewrite, possesses we an unsuspected certification for the fact that the <SPAN class=systran_nfw_source id=nfw_378>Kirchgessner</SPAN> never availed itself of a <SPAN class=systran_nfw_source id=nfw_379>Tastenharmonika</SPAN>, because you did not remain their clay/tone giving and <SPAN class=systran_nfw_transfer id=nfw_380>Tonfarbe</SPAN> <SPAN class=systran_nfw_source id=nfw_381>zusagten.14</SPAN> you rather time life <SPAN class=systran_nfw_source id=nfw_382>Schmittbauer</SPAN>, according to B. <SPAN class=systran_nfw_source id=nfw_383>Franklin</SPAN> designed instrument faithfully, and replaced it in London only by the instrument built by the mechanic <SPAN class=systran_nfw_source id=nfw_384>Fröschel</SPAN> for it also</SPAN> <SPAN class=systran_seg id=seg_163>inserted resonance soil, which increased the sound strength substantially, but otherwise held the old type.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_164>With expressions as „sphereful, „", „siren sounds " is ethereal that, the instrument does not certainly know and also only little prospect an old <SPAN class=systran_nfw_source id=nfw_385>Glasharmonika</SPAN> the time between 1770 and 1830 to hear, little helped, and also the characterization, its sound has with no different one to never replace also not to that of the <SPAN class=systran_nfw_source id=nfw_386>Claviers</SPAN> (<SPAN class=systran_nfw_source id=nfw_387>Clavichords</SPAN>) comparably and by this <SPAN class=systran_nfw_transfer id=nfw_388>näherbringt</SPAN> us just as few to a precise sound conception, like K.F. <SPAN class=systran_nfw_source id=nfw_389>Cramers Eulogie</SPAN>, the <SPAN class=systran_nfw_transfer id=nfw_390>Harmonika</SPAN> is „an indescribably beautiful instrument, that at sweet ones and <SPAN class=systran_nfw_transfer id=nfw_391>Zartheit</SPAN> of the clay/tone the human voice exceed " or K.L. <SPAN class=systran_nfw_source id=nfw_392>Rölligs</SPAN>, the inventor of the <SPAN class=systran_nfw_source id=nfw_393>Tastenharmonika</SPAN>,</SPAN> <SPAN class=systran_seg id=seg_165>Judgment, it is „the most beautiful and most pleasant of all instruments, which for each humans possessed, which exceeds even high expectations and whose effects on the marvelous border ". </SPAN><SUP><SPAN class=systran_seg id=seg_166>15</SPAN></SUP><SPAN class=systran_seg id=seg_166> however it grants nevertheless,</SPAN></SPAN> <v:shape id=_x0000_i1027 style="WIDTH: 297.75pt; HEIGHT: 192.75pt" type = "#_x0000_t75" coordsize = "21600,21600"><v:imagedata o:title="" src = "./stp89A_files/image005.jpg"></v:imagedata></v:shape><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 20pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_167><SPAN class=systran_nfw_source id=nfw_394>Franz</SPAN></SPAN></SPAN></I><I><SPAN class=systran_seg id=seg_167> <SPAN style="FONT-SIZE: 20pt">Konrad <SPAN class=systran_nfw_source id=nfw_395>Bartl</SPAN></SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 11pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_168>on</SPAN></SPAN></I><I><SPAN class=systran_seg id=seg_168> <SPAN style="FONT-SIZE: 11pt">that</SPAN></SPAN></I><SPAN style="FONT-SIZE: 11pt; mso-ansi-language: DE">| <I><SPAN class=systran_seg id=seg_170><SPAN class=systran_nfw_source id=nfw_396>t.t.mi</SPAN></SPAN></I><SPAN class=systran_seg id=seg_170> fiber plastic <I>industrial union <SPAN class=systran_nfw_source id=nfw_397>cdum</SPAN></I><SPAN class=systran_nfw_source id=nfw_397> <SPAN style="TEXT-TRANSFORM: uppercase">iu</SPAN> <I>Slttmte</I></SPAN><I>.</I></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal><v:shape id=_x0000_i1028 style="WIDTH: 201pt; HEIGHT: 150.75pt" type = "#_x0000_t75" coordsize = "21600,21600"><v:imagedata o:title="" src = "./stp89A_files/image007.jpg"></v:imagedata></v:shape><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 5pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_171><SPAN class=systran_nfw_source id=nfw_398>I.SniäU</SPAN> l) CC,</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 11pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_172>9mt</SPAN>&nbsp;&nbsp; <I><SPAN class=systran_seg id=seg_173>f</SPAN>&nbsp;&nbsp;</I> <SPAN class=systran_seg id=seg_174><SPAN class=systran_nfw_source id=nfw_399>c£xFfertafefK</SPAN>.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><B><I><SPAN style="FONT-SIZE: 5pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_175><SPAN class=systran_nfw_source id=nfw_400>IG.Pekoriuj.Jc Bitin</SPAN>,</SPAN></SPAN></I></B><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_176><SPAN class=systran_nfw_source id=nfw_401>Sm</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_177>- often <SPAN class=systran_nfw_source id=nfw_402>ihrlosst</SPAN>}</SPAN></SPAN></I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_177> 4es&gt;i&gt;cl (&gt; <I><SPAN class=systran_nfw_source id=nfw_403>cöaLlcr c£mtft</SPAN></I></SPAN><I>&nbsp;&nbsp;&nbsp; <SPAN class=systran_seg id=seg_178><SPAN class=systran_nfw_source id=nfw_404>unb</SPAN></SPAN>&nbsp;&nbsp;&nbsp;</I> <SPAN class=systran_seg id=seg_179><SPAN class=systran_nfw_source id=nfw_405>more ^Öucljjjättbfer</SPAN></SPAN></SPAN><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
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<DIV class=Section4>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_180>that its effect of the played composition, in addition, of tendency, temperature and lecture depends and is not always alike therefore.</SPAN> <SPAN class=systran_seg id=seg_181>Also is stressed, the sound effect more frequently fatigues the listener after short time and blunt it <SPAN class=systran_nfw_source id=nfw_406>ab.16</SPAN> the large advantage of the <SPAN class=systran_nfw_source id=nfw_407>Franklin</SPAN> instrument that those the glass bowls once praised when sharpening given tendency notion, with good reason as a main preference/advantage.</SPAN></SPAN> <o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_184><SPAN class=systran_nfw_source id=nfw_408>Schiller</SPAN> meant more sober, its effect „could become powerful in certain situations, it promised itself high inspiration of it ".</SPAN> <SPAN class=systran_seg id=seg_185>That an actual representative of the feeling seeds time is in the literature, Christian D. kind of thrust and Jean <SPAN class=systran_nfw_source id=nfw_409>Paul20</SPAN>, in expressions highest <SPAN class=systran_nfw_source id=nfw_410>Entzückens</SPAN> <SPAN class=systran_nfw_source id=nfw_411>schwärmerisch</SPAN> over the <SPAN class=systran_nfw_transfer id=nfw_412>Harmonika</SPAN> discussions, naturally, and Jean <SPAN class=systran_nfw_source id=nfw_413>Paul</SPAN> equated their sound again and again that the AOL sharpness.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_186>Certainly also the contemporaries could not lock for the serious dangers, those the <SPAN class=systran_nfw_source id=nfw_414>Harmonikaklang</SPAN> for the listener, above all however the player caused and in some German cities for the police prohibition of the instrument <SPAN class=systran_nfw_source id=nfw_415>führte.21</SPAN></SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_187>With few exceptions judged the musicians and music writer 18. and still 19.</SPAN> <SPAN class=systran_seg id=seg_188>Century, even - retrospectively - authors of our time, which <SPAN class=systran_nfw_source id=nfw_416>Harmonikaklang</SPAN> both because of its many high overtones, when particularly because of from the coated glass bowls into the fingertips, which lead most sensitive points of the palpation feeling, flowing oscillations for nerves harmful, because by them vibrations of the nervous system are released, those particularly with passionate, imprudent play to nervous diseases.</SPAN> <SPAN class=systran_seg id=seg_189><SPAN class=systran_nfw_source id=nfw_417>Virtuosen</SPAN> such as pH.</SPAN> <SPAN class=systran_seg id=seg_190><SPAN class=systran_nfw_source id=nfw_418>Frick</SPAN>, <SPAN class=systran_nfw_source id=nfw_419>Marianne Davies</SPAN> and K.L. <SPAN class=systran_nfw_source id=nfw_420>Röllig</SPAN> (that its illness describes in detail) would have therefore the play on the <SPAN class=systran_nfw_transfer id=nfw_421>Harmonika</SPAN> to give up <SPAN class=systran_nfw_source id=nfw_422>müssen.22</SPAN> however to contradict two outstanding music writers decided this <SPAN class=systran_nfw_source id=nfw_423>These20</SPAN> and a psychiatrist of international reputation deny likewise a general injurious character of the instrument.</SPAN> <SPAN class=systran_seg id=seg_191>It grants however that hypersensitive persons, who come with it into contact put their own problem into this meeting and therefore with different symptoms lain in their personality <SPAN class=systran_nfw_source id=nfw_424>reagieren.24</SPAN> also in this question belonging in the border area between music and medicine the decision must remain open.</SPAN> <SPAN class=systran_seg id=seg_192>The dominant nevertheless led view of the nerve danger of the <SPAN class=systran_nfw_transfer id=nfw_425>Harmonika</SPAN> to attempts, which fingertip friction to switch off and by <SPAN class=systran_nfw_source id=nfw_426>a mechanism</SPAN> <SPAN class=systran_nfw_source id=nfw_427>Violinbogen</SPAN> with the <SPAN class=systran_nfw_source id=nfw_428>Bogenharmonika</SPAN> of the <SPAN class=systran_nfw_source id=nfw_429>Abbate Mazzuchi25</SPAN>, or installation of a keyboard, whose keys operated tangents, to which on <SPAN class=systran_nfw_source id=nfw_430>Rosshaarpolstern</SPAN> damp swimming or pieces of cloth were fastened - already <SPAN class=systran_nfw_source id=nfw_431>Frick</SPAN> had attached the clay/tone to <SPAN class=systran_nfw_source id=nfw_432>produzieren.26</SPAN> this keyboard 1769, certainly unsuccessfully, until into the 1780er years at several places nearly at the same time instrument farmer the technical side of the problem with certain differentiations - or three waves, on which with different peripheral speeds the glass cones rotated - <SPAN class=systran_nfw_source id=nfw_433>lösten.27</SPAN> chord play, rapid speeds, fast runs and ornaments were now substantially relieved, but the majority of the music writers was correct therein</SPAN> <SPAN class=systran_seg id=seg_193>that the keyboard did not become the fine innervation and <SPAN class=systran_nfw_source id=nfw_434>Seelenhaftigkeit</SPAN> of the <SPAN class=systran_nfw_source id=nfw_435>Franklin</SPAN> <SPAN class=systran_nfw_transfer id=nfw_436>Harmonika</SPAN> painted with fingers <SPAN class=systran_nfw_source id=nfw_437>erreiche.28</SPAN> around the turn of the century also the building from key instruments given up and one returned to the <SPAN class=systran_nfw_source id=nfw_438>Franklin</SPAN> type;</SPAN> <SPAN class=systran_seg id=seg_194>as far as I know at present anywhere more a playable <SPAN class=systran_nfw_source id=nfw_439>Klavierharmonika</SPAN> is not in museums or collections.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_195>In addition, the victorious <SPAN class=systran_nfw_source id=nfw_440>Franklin</SPAN> <SPAN class=systran_nfw_transfer id=nfw_441>Harmonika</SPAN> was displaced <SPAN class=systran_nfw_source id=nfw_442>Physharmonika</SPAN> last soon by cheaper, and instruments of similar tone quality which can be played which can be learned more easily as <SPAN class=systran_nfw_source id=nfw_443>Accordeon</SPAN>, and by the <SPAN class=systran_nfw_transfer id=nfw_444>Harmonium</SPAN>, above all because the taste changed, and the public of the romantic and the following epoch the stronger, highly differentiated orchestra sound the ethereal-tender <SPAN class=systran_nfw_source id=nfw_445>Säuseln</SPAN> of the <SPAN class=systran_nfw_transfer id=nfw_446>Harmonika</SPAN> <SPAN class=systran_nfw_source id=nfw_447>vorzog.29</SPAN> around 1830 was terminated and the instrument practically disappeared this process.</SPAN> <SPAN class=systran_seg id=seg_196>In most recent time developed the glass harp <SPAN class=systran_nfw_source id=nfw_448>Bruno Hoffmanns30</SPAN>, which falls back to the principle of the glass play, by fixing, in a resonance soil putting, exactly tuned glass bells by circling movement of moistened fingers to sounding brings.</SPAN> <SPAN class=systran_seg id=seg_197>The instrument connects the advantages <SPAN class=systran_nfw_source id=nfw_449>Franklin</SPAN> with those the <SPAN class=systran_nfw_source id=nfw_450>Tastenharmonika</SPAN> without by imperfect central rotation of the bowls caused unintentional on and <SPAN class=systran_nfw_source id=nfw_451>Abschwellen</SPAN> of the tones, and permits the execution of all passages, ornaments, trills and the chord play.</SPAN> <SPAN class=systran_seg id=seg_198>Its sound resembles that one the <SPAN class=systran_nfw_source id=nfw_452>Franklin</SPAN> <SPAN class=systran_nfw_transfer id=nfw_453>Harmonika</SPAN> and on it leaves itself also to the Mozarts <SPAN class=systran_nfw_source id=nfw_454>Quintett KV</SPAN> 617 easily <SPAN class=systran_nfw_source id=nfw_455>ausführene</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_199>To what extent it will achieve the former popularity of the <SPAN class=systran_nfw_source id=nfw_456>Glasharmonika</SPAN>, is however an open question.</SPAN></SPAN><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
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<DIV class=Section5>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt"><SPAN class=systran_seg id=seg_200>III.</SPAN></SPAN><SPAN class=systran_seg id=seg_200> <SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE">Section</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_201>THE CONCERT ACTIVITY <SPAN class=systran_nfw_source id=nfw_457>KIRCHGESSNER</SPAN> IN VIENNA 1791 AND 1806</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_202>„Humans are generally speaking lives blindly ".</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><I><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_203>Fist IITH 5.</SPAN></SPAN></I><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-bidi-font-size: 12.0pt">&nbsp;</SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_204>It was not certain coincidence that the blind artist, as soon as it terminates equal its teachers, friends and sponsors their training for and regarded the time for - at that time as today usual - the evaluation of its <SPAN class=systran_nfw_source id=nfw_458>Könnens</SPAN> by a large concert journey right, when first important destination selected after completing the first obligations in the native German south Vienna.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_205>Old Austria was not bare in <SPAN class=systran_nfw_source id=nfw_459>the Swabian</SPAN> <SPAN class=systran_nfw_source id=nfw_460>badensischen</SPAN> area by the possession of the so-called <SPAN class=systran_nfw_source id=nfw_461>Vorlande</SPAN> a politically important power, Vienna was at that time generally speaking German Reich prominent music metropolis, far more strongly than the German north controlling Leipzig.</SPAN> <SPAN class=systran_seg id=seg_206>Still lived Mozart, whose fame had spread over completely just like that of the 1790 to England <SPAN class=systran_nfw_source id=nfw_462>Joseph Haydn</SPAN> traveled long Central Europe.</SPAN> <SPAN class=systran_seg id=seg_207>Beside them a pleiad of small masters, like <SPAN class=systran_nfw_source id=nfw_463>Antonio Salieri</SPAN>, worked <SPAN class=systran_nfw_source id=nfw_464>Leopold Kozeluch</SPAN>, <SPAN class=systran_nfw_source id=nfw_465>Franz</SPAN> A. Hoffmeister, <SPAN class=systran_nfw_source id=nfw_466>Adalbert Gyrowetz</SPAN>, <SPAN class=systran_nfw_source id=nfw_467>Johann</SPAN> B. <SPAN class=systran_nfw_source id=nfw_468>Wanhall</SPAN>, <SPAN class=systran_nfw_source id=nfw_469>Leopold</SPAN> Hoffmann, the song masters <SPAN class=systran_nfw_source id=nfw_470>Joseph</SPAN> A. <SPAN class=systran_nfw_source id=nfw_471>Steffan</SPAN>, <SPAN class=systran_nfw_source id=nfw_472>Martin Rupprecht</SPAN> and J.H. green forest beside the <SPAN class=systran_nfw_source id=nfw_473>Singspielkomponisten Ferdinand Kauer</SPAN> and <SPAN class=systran_nfw_source id=nfw_474>Wenzel</SPAN> Mueller.</SPAN> <SPAN class=systran_seg id=seg_208>In Vienna and taught also the famous theoretician <SPAN class=systran_nfw_source id=nfw_475>Johann</SPAN> G. <SPAN class=systran_nfw_source id=nfw_476>Albrechtsberger</SPAN> lived, and a recent generation of pianists already grew up:</SPAN> <SPAN class=systran_seg id=seg_209>Mozart's pupil <SPAN class=systran_nfw_source id=nfw_477>Johann</SPAN> N. a short while before (1790) to Vienna former pupils <SPAN class=systran_nfw_source id=nfw_478>Leopold</SPAN> Mozart and <SPAN class=systran_nfw_source id=nfw_479>Michael Haydns Joseph Wölfl</SPAN> moved to <SPAN class=systran_nfw_transfer id=nfw_480>Hummel</SPAN> and <SPAN class=systran_nfw_source id=nfw_481>Josephine Aurnhammer</SPAN>, its friend <SPAN class=systran_nfw_source id=nfw_482>Anton Eberl</SPAN>, that.</SPAN> <SPAN class=systran_seg id=seg_210>Two women, <SPAN class=systran_nfw_source id=nfw_483>Marianne</SPAN> of <SPAN class=systran_nfw_source id=nfw_484>Martinez</SPAN> and blind Maria <SPAN class=systran_nfw_source id=nfw_485>Theresia</SPAN> <SPAN class=systran_nfw_transfer id=nfw_486>Paradis</SPAN>, worked in Vienna as <SPAN class=systran_nfw_transfer id=nfw_487>Komponistinnen</SPAN> and these, only 1786 of a large and successful European journey returned home, left themselves still now and then in the concerts of the clay/tone artist partnership as <SPAN class=systran_nfw_source id=nfw_488>Pianistin</SPAN> of rank <SPAN class=systran_nfw_source id=nfw_489>hören.1</SPAN> the violin were by Karl <SPAN class=systran_nfw_source id=nfw_490>Ditters</SPAN> v. <SPAN class=systran_nfw_source id=nfw_491>Dittersdorf</SPAN> and after its outlet of Vienna by <SPAN class=systran_nfw_source id=nfw_492>Joseph Starzer</SPAN> and the brothers <SPAN class=systran_nfw_source id=nfw_493>Paul</SPAN> and <SPAN class=systran_nfw_source id=nfw_494>Anton Wranitzky</SPAN>, both from the yard opera orchestra, which <SPAN class=systran_nfw_transfer id=nfw_495>Violoncello</SPAN> by <SPAN class=systran_nfw_source id=nfw_496>Joseph Reicha</SPAN>, uncle of the composer <SPAN class=systran_nfw_source id=nfw_497>Anton Reicha</SPAN>, and <SPAN class=systran_nfw_source id=nfw_498>Vincenz Hauschka</SPAN> represent, louder efficient musicians, like probably no internationally recognized <SPAN class=systran_nfw_source id=nfw_499>Meister.2 Virtuosen</SPAN> on their instrument and by its relations with Mozart admit, were also the <SPAN class=systran_nfw_transfer id=nfw_500>Klarinettist</SPAN> <SPAN class=systran_nfw_source id=nfw_501>Anton Stadler</SPAN> and that</SPAN> <SPAN class=systran_seg id=seg_211>Bugler <SPAN class=systran_nfw_source id=nfw_502>Ignaz Leitgeb</SPAN>.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_212>Viennese the music life was variously and qualitatively, based on the requirements of that time, also high-quality.</SPAN> <SPAN class=systran_seg id=seg_213>Music formed in circles high aristocracy and „second society ", to which one the high civil servants, whom counted low aristocracy and the rising wealthy, trade and industry driving middle class, an important and indispensable part of the education and the cultural standard.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_214>If Vienna possessed except the 1772 based, its activity however on two double academies to Christmas and before Easter limiting clay/tone artist partnership still no concert orchestra from professional musicians, then this gap was nevertheless to a large extent filled out <SPAN class=systran_nfw_source id=nfw_503>Grassalkovich</SPAN> by the house chapels of the high aristocracy, the Lobko joke, <SPAN class=systran_nfw_source id=nfw_504>Esterhazy</SPAN>, Schwarzenberg, until at the end of the century war and financial needs forced their dissolution.</SPAN> <SPAN class=systran_seg id=seg_215>In addition, in the circles art-loving <SPAN class=systran_nfw_source id=nfw_505>Bürgerund</SPAN> of bureaucracy eagerly and <SPAN class=systran_nfw_source id=nfw_506>Dilettanten</SPAN>, of which some were very well trained, was made music gave e.g. in that houses of the yard advice <SPAN class=systran_nfw_source id=nfw_507>Franz</SPAN> S. v. <SPAN class=systran_nfw_source id=nfw_508>Greiner</SPAN> or the yard secretary J.A. <SPAN class=systran_nfw_transfer id=nfw_509>Paradis</SPAN> academies for loaded guests and friends of the <SPAN class=systran_nfw_source id=nfw_510>Hauses3</SPAN>, to those in addition, <SPAN class=systran_nfw_source id=nfw_511>distinguierte</SPAN> foreigner, traveler or „to persons of conditions " admission found.</SPAN> <SPAN class=systran_seg id=seg_216>Piano play belonged in these circles for the women, whose educational facilities were otherwise small, to the good clay/tone and formed a part of its <SPAN class=systran_nfw_source id=nfw_512>Erziehung.4</SPAN> the model of the ruling family, in which up to <SPAN class=systran_nfw_source id=nfw_513>Leopold</SPAN> IL one made music much, may here have been determining.</SPAN> <SPAN class=systran_seg id=seg_217>On the other hand 18 was missing in the Vienna of the last decade.</SPAN> <SPAN class=systran_seg id=seg_218>Century those public lover concerts <SPAN class=systran_nfw_transfer id=nfw_514>dargebotenen</SPAN> by <SPAN class=systran_nfw_source id=nfw_515>Dilettanten</SPAN> led and, with those for instance in Leipzig the heavyweight of urban music care lay and those, subscriber or single visitors against admission fee accessible, under the line of a recognized musician of the city regularly in the season of orchestral concerts <SPAN class=systran_nfw_source id=nfw_516>veranstalteten.5</SPAN> Vienna possessed at that time only two, structurally the <SPAN class=systran_nfw_source id=nfw_517>Leipzigern</SPAN> or similar north Germans not comparable lover concerts:</SPAN> <SPAN class=systran_seg id=seg_219>in „the flour pit " at the flour market (today new market) and concerts of kind of August, at which Mozart took for a while large portion.</SPAN> <SPAN class=systran_seg id=seg_220>Later it led the violonist <SPAN class=systran_nfw_source id=nfw_518>Rudolf</SPAN> and, than they already came into purge to quite agree that from <SPAN class=systran_nfw_source id=nfw_519>Beethovens</SPAN> life well-known violonists <SPAN class=systran_nfw_source id=nfw_520>Ignaz Schuppanzigh.6</SPAN> it are <SPAN class=systran_nfw_source id=nfw_521>Hanslick</SPAN> if it leads back the absence of an important public lover concert according to kind of the <SPAN class=systran_nfw_source id=nfw_522>Leipziger</SPAN> of garb house concert to the structural difference of the music life in one - for terms at that time - large, a large city, and in a medium-sized town, because in the large city in view of the penetration of the social life with music a lover concert was not by any means in same degrees the need as there.</SPAN> <SPAN class=systran_seg id=seg_221>In addition still another richly developed church music came, and the two yard theaters, in which German and Italian operas and <SPAN class=systran_nfw_source id=nfw_523>Singspiele</SPAN> were specified, represented an incessantly flowing source of musical suggestion.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_222>Concerts individually more native or traveler <SPAN class=systran_nfw_source id=nfw_524>Virtuosen</SPAN> took place, but by far not as often and regularly as later in 19.</SPAN> <SPAN class=systran_seg id=seg_223>Century.</SPAN> <SPAN class=systran_seg id=seg_224>The <SPAN class=systran_nfw_source id=nfw_525>Virtuose</SPAN> had it in a time without concert agencies and with undeveloped newspaper and publicity nature heavily.</SPAN> <SPAN class=systran_seg id=seg_225>If it followed the rare academies of the clay/tone artist partnership, then it was allowed to count not on considerable profit.</SPAN> <SPAN class=systran_seg id=seg_226>If it wanted to give however a concert on own calculation, then it had only the choice between the hall in „the flour pit " or that of the <SPAN class=systran_nfw_source id=nfw_526>Traiteurs Jahn</SPAN> in the <SPAN class=systran_nfw_source id=nfw_527>Himmelpfortgasse</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_227>The <SPAN class=systran_nfw_source id=nfw_528>Redoutensäle</SPAN> and the two yard theaters were left only rarely and also then only at free from play, so-called <SPAN class=systran_nfw_source id=nfw_529>Normatagen</SPAN>, at <SPAN class=systran_nfw_source id=nfw_530>Virtuosen</SPAN> by rank, and the rent was not inconsiderable.</SPAN> <SPAN class=systran_seg id=seg_228>Besides such concerts had by bring along or in Vienna issued recommendation letters to influential, wealthy personalities well prepared and sponsors had to be found, the maps removed and other <SPAN class=systran_nfw_source id=nfw_531>Subscribenten</SPAN> brought.</SPAN> <SPAN class=systran_seg id=seg_229>Since <SPAN class=systran_nfw_source id=nfw_532>Sonate</SPAN> and song were still hardly concertable, the <SPAN class=systran_nfw_source id=nfw_533>Virtuose</SPAN> had to give one evening with orchestra company, at which it played concerts or sang airs.</SPAN> <SPAN class=systran_seg id=seg_230>So the artist, above all the foreign had to carry a substantial financial risk and fight besides with one - not always unfounded - to prejudice.</SPAN> <SPAN class=systran_seg id=seg_231>Because <SPAN class=systran_nfw_source id=nfw_534>Scharlatane</SPAN> or <SPAN class=systran_nfw_source id=nfw_535>Dilettanten</SPAN> abused the music love of the public again and again and discredited thereby the whole <SPAN class=systran_nfw_source id=nfw_536>Beruf.7</SPAN> for famous or popular artists were certainly Vienna a soil, which could be plowed easy and was enough fruit carried.</SPAN> <SPAN class=systran_seg id=seg_232>Nevertheless Mozart had soon after his address Vienna as „the best place of the world " and as „the true piano country " <SPAN class=systran_nfw_source id=nfw_537>bezeichnet.8</SPAN> in addition, good violonists came gladly and pretty often.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_233>Into this music-satisfied environment now the blind stepped <SPAN class=systran_nfw_source id=nfw_538>Glasharmonika</SPAN> <SPAN class=systran_nfw_source id=nfw_539>virtuosin</SPAN>, in order to give their first concert in the large music city here in April 1791.</SPAN> <SPAN class=systran_seg id=seg_234>Their strange, much admired instrument was no longer unknown to the <SPAN class=systran_nfw_source id=nfw_540>Wienern</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_235>Already beginning</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_236>that</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_237>70's</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_238>Years</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_239>was</SPAN> &nbsp;&nbsp; <SPAN class=systran_seg id=seg_240>those</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_241>English</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_242><SPAN class=systran_nfw_source id=nfw_541>Harmonikaspielerin Marianne Davies</SPAN>, to which the inventor of the instrument <SPAN class=systran_nfw_source id=nfw_542>Benjamin Franklin</SPAN> had left such an instrument, perhaps its own, come to Vienna, and had achieved with yards large successes.</SPAN> <SPAN class=systran_seg id=seg_243><SPAN class=systran_nfw_source id=nfw_543>Metastasio</SPAN> had toned <SPAN class=systran_nfw_source id=nfw_544>Adolf</SPAN> hate it for it a desert sealed, and together with their sister, the <SPAN class=systran_nfw_source id=nfw_545>Sopranistin Cecilia Davies</SPAN>, had it this work <SPAN class=systran_nfw_source id=nfw_546>vorgetragen.9</SPAN> fast became the instrument in Vienna mode and at that time the physician Dr. <SPAN class=systran_nfw_source id=nfw_547>Franz Anton Mesmer</SPAN> standing at the beginning of its successes as <SPAN class=systran_nfw_source id=nfw_548>Psychotherapeut</SPAN> could a <SPAN class=systran_nfw_source id=nfw_549>Glasharmonika</SPAN> around the very high amount of 50 <SPAN class=systran_nfw_source id=nfw_550>Dukaten</SPAN> be built.</SPAN> <SPAN class=systran_seg id=seg_244>After the certification <SPAN class=systran_nfw_source id=nfw_551>Leopold</SPAN> Mozart, who heard him with its attendance in Vienna 1773 in its garden palace on the highway, it controlled the play technology <SPAN class=systran_nfw_source id=nfw_552>vollkommen10</SPAN>, and the ethereal, charmful tones of the instrument served the eagerly experimenting physician with its <SPAN class=systran_nfw_source id=nfw_553>Seancen</SPAN> for the calming of the patients, who were shifted thereby into one for the tasks „of the <SPAN class=systran_nfw_source id=nfw_554>animalischen</SPAN> magnetism " favorable tendency.</SPAN> <SPAN class=systran_seg id=seg_245>At that time the recent W.A. Mozart played at that time on the <SPAN class=systran_nfw_source id=nfw_555>Glasharmonika</SPAN>, which its father could not certainly buy the high costs because of, and became acquainted with the Mozarts perhaps in the palace <SPAN class=systran_nfw_source id=nfw_556>Mesmers11</SPAN> also the English <SPAN class=systran_nfw_source id=nfw_557>Virtuosin</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_246>Memories of this youth experience may have along-played, as W.A. Mozart 1791 at the art of the young <SPAN class=systran_nfw_source id=nfw_558>Kirchgessner</SPAN> portion took and for them the most beautiful work for this instrument, which composed <SPAN class=systran_nfw_source id=nfw_559>Quintett</SPAN> for flute, oboe, <SPAN class=systran_nfw_source id=nfw_560>Viola</SPAN>, cello and <SPAN class=systran_nfw_source id=nfw_561>Glasharmonika KV</SPAN> 617.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_247>From public concerts of the <SPAN class=systran_nfw_source id=nfw_562>Marianne Davies</SPAN> in Vienna nothing is well-known.</SPAN> <SPAN class=systran_seg id=seg_248>But in March 1791, thus only few weeks before the arrival of the <SPAN class=systran_nfw_source id=nfw_563>Kirchgessner</SPAN>, a traveler <SPAN class=systran_nfw_source id=nfw_564>Virtuose</SPAN> came from Northern Germany, Karl <SPAN class=systran_nfw_source id=nfw_565>Leopold Röllig</SPAN>, which was concerned as an inventor and technical designer with the improvement of the piano, the elbow wing and the <SPAN class=systran_nfw_source id=nfw_566>Glasharmonika</SPAN> and 1780 in Dresden had also worked at that time at on the <SPAN class=systran_nfw_source id=nfw_567>Glasharmonika</SPAN> interested J.G. <SPAN class=systran_nfw_source id=nfw_568>Naumann</SPAN> and had obtained at concert journeys of successes, to Vienna, and gave on 2. 4. the 1791 in <SPAN class=systran_nfw_source id=nfw_569>k.k</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_249>National theater „on a <SPAN class=systran_nfw_transfer id=nfw_570>Harmonika</SPAN> " <SUP>12 a</SUP> concert invented again by it.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_250>The interest of the Viennese of public was thus already excited and besides went the blind <SPAN class=systran_nfw_source id=nfw_571>Virtuosin</SPAN>, which from Munich coming, perhaps into Salzburg, surely however in <SPAN class=systran_nfw_source id=nfw_572>Linz</SPAN> in the theaters <SPAN class=systran_nfw_source id=nfw_573>konzertiert13</SPAN> and an inspired, into the Viennese newspaper printed criticism received <SPAN class=systran_nfw_source id=nfw_574>hatte14</SPAN>, their unparalleled technology and the completely new and surprising effect of the <SPAN class=systran_nfw_source id=nfw_575>Glasharmonika</SPAN> praised itself and thereby on an article Christian F.D. thrust kind in „the native country chronicle " <SPAN class=systran_nfw_source id=nfw_576>Jg</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_251>1790/91 number 15 appointed, an important call ahead.</SPAN> <SPAN class=systran_seg id=seg_252>But also the holding of their first concert speaks on 10 June 1791 in the castle theater, thus one most distinguished concert restaurants, which were to a <SPAN class=systran_nfw_source id=nfw_577>Virtuosen</SPAN> at that time at the disposal.</SPAN> <SPAN class=systran_seg id=seg_253>Since neither a concert criticism still another program received <SPAN class=systran_nfw_source id=nfw_578>hat15</SPAN>, we know ourselves not, the <SPAN class=systran_nfw_source id=nfw_579>Kirchgessner</SPAN> spoke which pieces at that time.</SPAN> <SPAN class=systran_seg id=seg_254>Probably Mozart, who must have heard the artist with a private concert - an occurrence with yard is not testified and in the time of the preparations for the emperor coronation/culmination <SPAN class=systran_nfw_source id=nfw_580>Leopold</SPAN> IL also improbably -, under that had probably composed impression of its <SPAN class=systran_nfw_source id=nfw_581>phänomenalen Könnens</SPAN> on their request for it the wonderful <SPAN class=systran_nfw_source id=nfw_582>Quintett KV</SPAN> 617, that after its „listing of all of my works " to 23.</SPAN>&nbsp; <SPAN class=systran_seg id=seg_255>May was written or completed nevertheless.</SPAN> <SPAN class=systran_seg id=seg_256>But the blind one has the work intended for it not already at its first academy, but only with second, to 19. 8.</SPAN>&nbsp;&nbsp; 1791&nbsp;&nbsp; <SPAN class=systran_seg id=seg_258>perhaps in the <SPAN class=systran_nfw_source id=nfw_583>Kärntnertontheater</SPAN>, <SPAN class=systran_nfw_source id=nfw_584>uraufgeführt.16</SPAN> took place was too short the time to the study or the material coped not in time.</SPAN> <SPAN class=systran_seg id=seg_259>Whether it at least the short <SPAN class=systran_nfw_source id=nfw_585>Adagio KV</SPAN> 356 (again <SPAN class=systran_nfw_source id=nfw_586>KV</SPAN> 617a), which probably at the same time as addition (<SPAN class=systran_nfw_source id=nfw_587>Encore</SPAN>) developed, already to 10. 6. played, cannot be determined.</SPAN> <SPAN class=systran_seg id=seg_260>The <SPAN class=systran_nfw_source id=nfw_588>Kirchgessner</SPAN> had a substantial repertoire, mainly <SPAN class=systran_nfw_source id=nfw_589>Solostücke17</SPAN> and chamber music works for <SPAN class=systran_nfw_source id=nfw_590>Glasharmonika</SPAN> and several instruments, composed by works of its compatriot <SPAN class=systran_nfw_source id=nfw_591>Johann</SPAN> squirrel, in addition, its teacher <SPAN class=systran_nfw_source id=nfw_592>Joseph Alois Schmittbauer</SPAN> for it, and might, as arranged their program from such works with its <SPAN class=systran_nfw_source id=nfw_593>Linzer</SPAN> concert so also at the first Viennese academy.</SPAN></SPAN><o:p></o:p></P>
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<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_261>From an undated, but long on 11 June 1791 certain letter to the Mozarts from Vienna to at that time in bathing to the cure stay because-end <SPAN class=systran_nfw_source id=nfw_594>Konstanze18</SPAN> can be inferred that the <SPAN class=systran_nfw_source id=nfw_595>Kirchgessner</SPAN> had originally already planned a second academy for Monday, 13 June 1791.</SPAN> <SPAN class=systran_seg id=seg_262>For unknown reasons this concert had to be shifted however and could only two months later, on 19 August in the <SPAN class=systran_nfw_source id=nfw_596>Kärntnerthortheater stattfinden.19</SPAN> at this academy came finally the <SPAN class=systran_nfw_source id=nfw_597>Glasharmonikaquintett KV</SPAN> 617 to the premiere and seems to immediately lively applause to have found, since it became the most popular piece of repertoire of the artist, it <SPAN class=systran_nfw_source id=nfw_598>spielte.20</SPAN> the work makes so high demands again and again to the play technology of the interpreter that cook flax stone <SPAN class=systran_nfw_source id=nfw_599>annimmt21</SPAN> was, it not on the <SPAN class=systran_nfw_source id=nfw_600>Franklin</SPAN> instrument, which had received the <SPAN class=systran_nfw_source id=nfw_601>Kirchgessner</SPAN> still as a pupil from the realm baron von <SPAN class=systran_nfw_source id=nfw_602>Beroldingen</SPAN> to the gift but on notice and movement technique a substantially facilitating palpation (piano) <SPAN class=systran_nfw_transfer id=nfw_603>Harmonika</SPAN> spoken, there it on from J.A. <SPAN class=systran_nfw_source id=nfw_604>Schmittbauer</SPAN></SPAN> <SPAN class=systran_seg id=seg_263>designed and later instrument equipped in London with a resonance soil <SPAN class=systran_nfw_source id=nfw_605>unspielbar</SPAN> would have been.</SPAN> <SPAN class=systran_seg id=seg_264>Meanwhile we not at all always know from contemporary, reports which can be understood as praise to implement that the <SPAN class=systran_nfw_source id=nfw_606>Kirchgessner</SPAN> possessed an eminent technology, which made it for her possible apparently <SPAN class=systran_nfw_source id=nfw_607>unspielbare</SPAN> places, double grasps, manners, trills and fast runs on the instrument and interpret pieces, which were virtually impracticable faultless for a less good player.</SPAN> <SPAN class=systran_seg id=seg_265>The criticism accused the <SPAN class=systran_nfw_source id=nfw_608>Kirchgessner</SPAN> evenly this excessive care of pure <SPAN class=systran_nfw_source id=nfw_609>Virtuosität</SPAN>, by which it its characteristic gentle sound to the instrument took and to technical <SPAN class=systran_nfw_source id=nfw_610>Künsteleien gelangte22</SPAN>, which offended against the nature nevertheless particularly of the <SPAN class=systran_nfw_transfer id=nfw_611>Harmonika</SPAN> intended for calm, <SPAN class=systran_nfw_source id=nfw_612>akkordlicher</SPAN> and carried sound effect.</SPAN> <SPAN class=systran_seg id=seg_266>Only in its last <SPAN class=systran_nfw_transfer id=nfw_613>Lebensjahren</SPAN> it returned to a simpler, <SPAN class=systran_nfw_source id=nfw_614>unverkünstelten</SPAN> play way.</SPAN> <SPAN class=systran_seg id=seg_267>Besides <SPAN class=systran_nfw_transfer id=nfw_615>Gerber</SPAN> says <SPAN class=systran_nfw_source id=nfw_616>ausdrücklich23</SPAN>, which has blind ones equal its teacher <SPAN class=systran_nfw_source id=nfw_617>Schmittbauer</SPAN> and the then famous Saxonian <SPAN class=systran_nfw_source id=nfw_618>Hofkapellmeister</SPAN> and composer J.G. <SPAN class=systran_nfw_source id=nfw_619>Naumann</SPAN> the palpation (piano), demonstrated invented approximately at the same time in the center of the 80's of several technical designers, publicly and, <SPAN class=systran_nfw_transfer id=nfw_620>Harmonika</SPAN> because of their by the tangent friction of the glass bowls of conditioned harder and less nuance-rich clay/tone <SPAN class=systran_nfw_source id=nfw_621>abgeleht</SPAN> and of their does not avail itself.</SPAN> <SPAN class=systran_seg id=seg_268><SPAN class=systran_nfw_source id=nfw_622>Mariane Kirchgessner</SPAN> knew thus obviously at that time already the key instruments of a <SPAN class=systran_nfw_source id=nfw_623>Hessel</SPAN>, a <SPAN class=systran_nfw_source id=nfw_624>Nicolai</SPAN>, a <SPAN class=systran_nfw_source id=nfw_625>Röllig</SPAN> or a <SPAN class=systran_nfw_source id=nfw_626>Bartl</SPAN> in the trade, held however to first from <SPAN class=systran_nfw_source id=nfw_627>Schmittbauer</SPAN> by use of <SPAN class=systran_nfw_source id=nfw_628>Krystallschalen</SPAN> and extension of its extent of g-g " on C-f " and later during their <SPAN class=systran_nfw_source id=nfw_629>Londoner</SPAN> of stay by mounting of a resonance soil improved <SPAN class=systran_nfw_source id=nfw_630>Franklin Urform24</SPAN> of the <SPAN class=systran_nfw_source id=nfw_631>Glasharmonika</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_269>Since their instruments did not come unfortunately on us, we must be content with these statements.</SPAN> <SPAN class=systran_seg id=seg_270>To the Mozarts of the <SPAN class=systran_nfw_source id=nfw_632>Kirchgessner</SPAN> on its art journeys again and again played <SPAN class=systran_nfw_source id=nfw_633>Werk25</SPAN>, certainly most beautiful and most important that today only more fragmentarily received literature, came at the same time with the <SPAN class=systran_nfw_source id=nfw_634>Glasharmonika</SPAN> into oblivion.</SPAN> <SPAN class=systran_seg id=seg_271>The more frequently tried replacement of the original instrument by piano or <SPAN class=systran_nfw_transfer id=nfw_635>Harmonium</SPAN> is not able the special attraction, the purity, transparency and weightlessness of the <SPAN class=systran_nfw_source id=nfw_636>Glasharmonikatones</SPAN> to <SPAN class=systran_nfw_source id=nfw_637>gewährleisten.26</SPAN> only <SPAN class=systran_nfw_source id=nfw_638>Bruno</SPAN> Hoffmann new glass harp seems an adequate replacement for missing persons the original instrument to <SPAN class=systran_nfw_source id=nfw_639>bieten.27</SPAN></SPAN></SPAN><o:p></o:p></P></DIV><BR style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear=all>
|
||
<DIV class=Section6>
|
||
<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_272>At its academy from. the 1791 the <SPAN class=systran_nfw_source id=nfw_640>Kirchgessner</SPAN> played 19. 8 also „new variations " from January <SPAN class=systran_nfw_source id=nfw_641>Wanhalls</SPAN> over the <SPAN class=systran_nfw_source id=nfw_642>Duett</SPAN> (<SPAN class=systran_nfw_source id=nfw_643>Nel cor piü non mi sento</SPAN>) from <SPAN class=systran_nfw_source id=nfw_644>Paisiellos</SPAN> since 1790 on the repertoire of the national theater standing successful <SPAN class=systran_nfw_source id=nfw_645>Buffa</SPAN> „<SPAN class=systran_nfw_source id=nfw_646>La molinara</SPAN> ". </SPAN><SUP><SPAN class=systran_seg id=seg_273>28</SPAN></SUP><SPAN class=systran_seg id=seg_273> also of this academy we possess neither notes nor criticism, but must success have been important, since the artist already announces to 3.9.1791 in the Viennese <SPAN class=systran_nfw_source id=nfw_647>Zeitung29</SPAN> that she, this time in the hall of the <SPAN class=systran_nfw_source id=nfw_648>Hoftraiteurs Jahn</SPAN> in the <SPAN class=systran_nfw_source id=nfw_649>Himmelpfortgasse</SPAN>, will give 8.9.1791 at the concert.</SPAN> <SPAN class=systran_seg id=seg_274>It justifies the rapid sequence of two concerts with „the requests many large music connoisseurs to completely exactly hear the <SPAN class=systran_nfw_transfer id=nfw_650>Harmonika</SPAN> and its play in the proximity and in a <SPAN class=systran_nfw_source id=nfw_651>Sal</SPAN> and to learn to know at all this instrument misjudged so far better ".</SPAN> <SPAN class=systran_seg id=seg_275>That speaks certainly for the success of the academy of 19. 8. </SPAN><SPAN class=systran_seg id=seg_276>, in addition, for the large interest of the Viennese of music friends in the strange instrument and its <SPAN class=systran_nfw_source id=nfw_652>Spielerin</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_277>Probably you would have been left again one of the yard theaters.</SPAN> <SPAN class=systran_seg id=seg_278>If it for its third concert a more intimate area, which small hall in the <SPAN class=systran_nfw_source id=nfw_653>Jahn Hause30</SPAN>, today any longer (not existing), selected, which offered an exact observation of the play technology of the speaking made possible and resonance better for the at that time still quite sound-weak instrument to the concert visitors, then this resolution was probably justified.</SPAN> <SPAN class=systran_seg id=seg_279>Probably it played also with this conclusion concert the <SPAN class=systran_nfw_source id=nfw_654>Quintett KV</SPAN> 617, perhaps also as addition the <SPAN class=systran_nfw_source id=nfw_655>Adagio KV</SPAN> 617a, pieces in those it their being able into full light to move could do.</SPAN> <SPAN class=systran_seg id=seg_280>Since also from this concert evening criticism and discussion are missing, we can only assume that them played also <SPAN class=systran_nfw_source id=nfw_656>Glasharmonikakompositionen</SPAN> of other masters such as <SPAN class=systran_nfw_source id=nfw_657>Schlett</SPAN>, squirrel, <SPAN class=systran_nfw_source id=nfw_658>Wanhall</SPAN> or Neumann, since the two pieces are not evening-filling the Mozarts.</SPAN> <SPAN class=systran_seg id=seg_281>Whether Mozart, in all probability only to 25. 8. or 26.</SPAN> <SPAN class=systran_seg id=seg_282>8.31 to Prague for preparation that</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_283>„<SPAN class=systran_nfw_source id=nfw_659>Clemenza</SPAN> those</SPAN>&nbsp;&nbsp; <SPAN class=systran_seg id=seg_284><SPAN class=systran_nfw_source id=nfw_660>Tito</SPAN> “- premiere together with <SPAN class=systran_nfw_source id=nfw_661>Konstanze</SPAN> and <SPAN class=systran_nfw_source id=nfw_662>Süssmayr</SPAN> left, at the academy from 19 August still its two <SPAN class=systran_nfw_source id=nfw_663>Glasharmonikawerke</SPAN> heard, cannot any longer be determined.</SPAN> <SPAN class=systran_seg id=seg_285>To 8. 9. it already stayed in Prague, from where it returned only in the middle of Septembers to Vienna.</SPAN></SPAN><o:p></o:p></P>
|
||
<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_286>The assumption O.E. <SPAN class=systran_nfw_source id=nfw_664>Deutschs32</SPAN>, Mozart left later the <SPAN class=systran_nfw_source id=nfw_665>Quintett</SPAN> to the count <SPAN class=systran_nfw_source id=nfw_666>Deym</SPAN> for use into its <SPAN class=systran_nfw_source id=nfw_667>sogenanntene Müller</SPAN> <SPAN class=systran_nfw_transfer id=nfw_668>Wachsfigurenkabinett</SPAN>, where it was to be heard on a play work „in sleep in accordance with oh the <SPAN class=systran_nfw_source id=nfw_669>Grazien</SPAN> ", has much probability for itself, there in largest emergency masters present also different compositions, how the <SPAN class=systran_nfw_source id=nfw_670>Adagio</SPAN> and <SPAN class=systran_nfw_source id=nfw_671>Allegro</SPAN> for an organ roller (<SPAN class=systran_nfw_source id=nfw_672>KV</SPAN> 594) had written <SPAN class=systran_nfw_source id=nfw_673>the f-Moll-</SPAN><SPAN class=systran_nfw_source id=nfw_674>Fantasie KV</SPAN> 608 in <SPAN class=systran_nfw_source id=nfw_675>f-</SPAN><SPAN class=systran_nfw_source id=nfw_676>Moll</SPAN> and the <SPAN class=systran_nfw_source id=nfw_677>Andante KV</SPAN> 616 in F major for <SPAN class=systran_nfw_source id=nfw_678>Deym</SPAN>, around little money to <SPAN class=systran_nfw_source id=nfw_679>verdienen.33</SPAN></SPAN></SPAN><o:p></o:p></P>
|
||
<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_287>In the following years the blind one undertook far art travels, which led it to England and then again to pc. Petersburg.</SPAN> <SPAN class=systran_seg id=seg_288>Before the turn of the century it made together with the friendly married couple <SPAN class=systran_nfw_source id=nfw_680>Bossler</SPAN> in <SPAN class=systran_nfw_source id=nfw_681>Gohlis</SPAN> short with Leipzig resident, which left it 1802, in order in Stuttgart <SPAN class=systran_nfw_source id=nfw_682>to then konzertieren itself</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_289>Only 1806 undertook it again a concert journey to Vienna.</SPAN> <SPAN class=systran_seg id=seg_290>Heavy <SPAN class=systran_nfw_source id=nfw_683>Kriegsgewölk</SPAN> had together-clumped at that time over Central Europe;</SPAN> <SPAN class=systran_seg id=seg_291>the third coalition war, in August 1805 begun, took an exit unfortunate for Austria and its allied Russia in the battle with <SPAN class=systran_nfw_source id=nfw_684>Austerlitz</SPAN>, and war confusions defeated originally the travel plans in November 1805 of the artist come arranged after Venice and <SPAN class=systran_nfw_source id=nfw_685>Neapel</SPAN> over Dresden and Prague to Vienna.</SPAN> <SPAN class=systran_seg id=seg_292>Could or if it did not want to continue their Italy travel under such circumstances, then it let not take it nevertheless on 1 April 1806, thus few months after by the press citizen peace a certain breathing space in the wars had occurred itself to give in the city, it and that it 1791 become so dear, a concert.</SPAN> <SPAN class=systran_seg id=seg_293>In one on this day in <SPAN class=systran_nfw_source id=nfw_686>k.k</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_294>Castle theater „to the best one theater arms " held <SPAN class=systran_nfw_source id=nfw_687>Akademie34</SPAN> the their point of main program J. <SPAN class=systran_nfw_source id=nfw_688>Haydns Oratorium</SPAN> „the seven words of the <SPAN class=systran_nfw_source id=nfw_689>Erlösers</SPAN> " formed, participated <SPAN class=systran_nfw_source id=nfw_690>Mariane Kirchgessner</SPAN> with one particularly for it composed solo ones of <SPAN class=systran_nfw_source id=nfw_691>Anton Reicha</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_295>It was a <SPAN class=systran_nfw_source id=nfw_692>Rezitation</SPAN> of the actress <SPAN class=systran_nfw_source id=nfw_693>Mme</SPAN> rose, which spoke <SPAN class=systran_nfw_source id=nfw_694>Johannas</SPAN> parting from the homeland from <SPAN class=systran_nfw_source id=nfw_695>Schillers</SPAN> „virgin of <SPAN class=systran_nfw_source id=nfw_696>Orleans</SPAN> " with a <SPAN class=systran_nfw_source id=nfw_697>melodramatischen Begleitmusik</SPAN> for orchestras and <SPAN class=systran_nfw_source id=nfw_698>Glasharmonika</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_296>- Me inaccessible - the composition must have been grateful, there the <SPAN class=systran_nfw_source id=nfw_699>Kirchgessner</SPAN> it also at other places e.g. at an academy in Stuttgart 1808 <SPAN class=systran_nfw_source id=nfw_700>spielte.35</SPAN> also the popular „<SPAN class=systran_nfw_source id=nfw_701>Eipeldauer</SPAN> " mentions the Viennese academy and calls the <SPAN class=systran_nfw_source id=nfw_702>Kirchgessner</SPAN> „a famous <SPAN class=systran_nfw_source id=nfw_703>Harmonikaspielerin</SPAN> ".</SPAN></SPAN><o:p></o:p></P>
|
||
<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_297>The theater bill of this concert kept, but no discussion appeared, how that corresponded to the time custom.</SPAN> <SPAN class=systran_seg id=seg_298>The remark of the <SPAN class=systran_nfw_source id=nfw_704>ADB</SPAN>, which have <SPAN class=systran_nfw_source id=nfw_705>Kirchgessner</SPAN> 1806 again the <SPAN class=systran_nfw_source id=nfw_706>Quintett</SPAN> Mozart <SPAN class=systran_nfw_source id=nfw_707>KV</SPAN> 617 <SPAN class=systran_nfw_source id=nfw_708>gespielt36</SPAN>, on a second concert evening would point, since this work in the program does not seem to the charity academy from 1 April.</SPAN> <SPAN class=systran_seg id=seg_299>Also in <SPAN class=systran_nfw_source id=nfw_709>ADB</SPAN> of C.F quick. <SPAN class=systran_nfw_source id=nfw_710>Pohl</SPAN> expressed the criticism to „all too and artificial manners at expense of the true character of the <SPAN class=systran_nfw_transfer id=nfw_711>harmonika</SPAN> ", which refers to its Viennese occurrence of 1806, far rather on one solo evening as on the modest co-operation at a charity academy would fit.</SPAN></SPAN><o:p></o:p></P>
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||
<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_300>To Vienna the <SPAN class=systran_nfw_source id=nfw_712>Kirchgessner</SPAN> did not come any longer, but their name remained unforgotten, like an article in the Viennese most meaning at that time technical periodical, „for the general one musical newspaper out of special consideration for the east.</SPAN> <SPAN class=systran_seg id=seg_301>Emperor state " of 24. 7.</SPAN> <SPAN class=systran_seg id=seg_302>, which brings in a series of articles „the excellent faceless <SPAN class=systran_nfw_source id=nfw_713>Musikvirtuosen</SPAN> to more recent time, an honor monument " their biography, it shows 181737 as „really large <SPAN class=systran_nfw_source id=nfw_714>Virtuosin</SPAN> " on the <SPAN class=systran_nfw_transfer id=nfw_715>Harmonika</SPAN> designation, and their attendance in Vienna with their first art journey to Germany - however falsely shifted in the year 1792 or 1793 - states, with which it gave „with large applause a concert ".</SPAN> <SPAN class=systran_seg id=seg_303>Also the gift of a <SPAN class=systran_nfw_source id=nfw_716>Glasharmonika</SPAN> becomes express to the blind one by the <SPAN class=systran_nfw_source id=nfw_717>Frhr</SPAN>.</SPAN> <SPAN class=systran_seg id=seg_304>(<SPAN class=systran_nfw_source id=nfw_718>Joseph Anton</SPAN> victory mouth) of <SPAN class=systran_nfw_source id=nfw_719>Beroldingen</SPAN> mentioned, of which the sheet speaks also in other place in connection with the biography of the blind <SPAN class=systran_nfw_source id=nfw_720>Harfenvirtuosin Schonz</SPAN>, that it „a people friend, like formerly the <SPAN class=systran_nfw_source id=nfw_721>Kirchgessner</SPAN> " wishes, it a new pedal harp gives <SPAN class=systran_nfw_source id=nfw_722>würde.38</SPAN> to that</SPAN></SPAN><o:p></o:p></P>
|
||
<P class=MsoNormal style="BACKGROUND: white"><SPAN style="FONT-SIZE: 9pt; mso-ansi-language: DE"><SPAN class=systran_seg id=seg_305>The question, whether the <SPAN class=systran_nfw_source id=nfw_723>Kirchgessner</SPAN> would have, it „their life more highly brought ", as the general one musical newspaper not still another third time is expressed to Vienna would have come, is neither to affirm nor answer in the negative.</SPAN> <SPAN class=systran_seg id=seg_306>Vienna at that time, like today still exercised</SPAN></SPAN><SPAN class=systran_seg id=seg_306> <SPAN style="mso-ansi-language: DE">on <SPAN class=systran_nfw_source id=nfw_724>Virtuosen</SPAN> from all world a nearly magic attraction, and the concert sequence of 1806 could encourage to new art travels.</SPAN></SPAN><o:p></o:p></P>
|
||
<P class=MsoNormal style="BACKGROUND: white"><SPAN style="mso-ansi-language: DE"><SPAN class=systran_seg id=seg_307>Meanwhile their premature death made an end for such plans, if they should have really existed, during its last art travel into work living.</SPAN></SPAN><o:p></o:p></P></DIV></BODY></HTML></option><option name="user_dict"></option><option name="domain"></option><option name="tg"></option><option name="error"></option><option name="error_desc"></option><option name="sharp_nfwlist">24 Kirchgessner source 38,59,260,278,281,295,371,378,558,563,579,588,595,601,606,608,632,640,699,702,705,712,721,723
|
||
22 Harmonika transfer 228,280,284,310,343,355,368,372,390,412,421,425,436,441,446,453,570,603,611,620,650,715
|
||
19 Glasharmonika source 40,77,110,114,296,338,344,385,456,549,555,566,567,575,590,631,634,698,716
|
||
13 Paradis transfer 24,35,164,217,242,248,258,259,263,266,276,486,509
|
||
7 Mariane Kirchgessner source 36,142,150,288,359,622,690
|
||
7 Franklinschen source 83,407,435,438,449,452,600
|
||
6 Virtuosen source 123,316,375,524,577,724
|
||
6 KV source 109,115,116,586,672,707
|
||
6 Johann source 119,233,467,475,477,591
|
||
5 Virtuosin source 92,231,557,571,714
|
||
5 Theresia source 23,34,48,163,485
|
||
5 Naumann source 120,137,182,234,568
|
||
5 Leopold source 469,478,513,551,580
|
||
5 Franz source 270,292,394,465,507
|
||
5 Franklin source 326,332,335,340,383
|
||
4 Virtuose source 79,525,533,564
|
||
4 Th source 216,241,247,257
|
||
4 Röllig source 305,337,420,625
|
||
4 Quintett KV source 369,454,582,654
|
||
4 Quintett source 108,134,559,706
|
||
4 Gohlis source 154,188,192,681
|
||
4 Bossler source 176,213,236,680
|
||
4 Beroldingen source 71,80,602,719
|
||
3 k.k source 191,569,686
|
||
3 glasses source 314,323,327
|
||
3 Tastenharmonika source 379,393,450
|
||
3 Sonate source 135,204,532
|
||
3 Schmittbauer source 604,617,627
|
||
3 Marianne Davies source 358,419,562
|
||
3 Londoner source 132,168,629
|
||
3 Joseph source 10,356,470
|
||
3 Harmonium transfer 290,444,635
|
||
3 Frick source 357,418,431
|
||
3 Dilettanten source 506,515,535
|
||
3 Anton Reicha source 121,497,691
|
||
2 konzertieren source 206,320
|
||
2 josefinischen source 265,272
|
||
2 animalischen source 167,554
|
||
2 Zartheit transfer 33,391
|
||
2 Wanhall source 468,658
|
||
2 Virtuosen source 417,530
|
||
2 Virtuosität source 86,609
|
||
2 Violoncello transfer 112,495
|
||
2 Viola source 111,560
|
||
2 Puckeridge source 317,325
|
||
2 Psychotherapeut source 165,548
|
||
2 Pianistin source 21,488
|
||
2 Paul source 413,493
|
||
2 Paradies transfer 54,211
|
||
2 Mme source 299,693
|
||
2 Mesmers source 250,373
|
||
2 Mesmer source 271,293
|
||
2 Marianne source 19,483
|
||
2 Mariane source 69,85
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<body lang="EN-US" style="TEXT-JUSTIFY-TRIM: punctuation; tab-interval: .5in"> <div class="Section1">
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_2">Appeared first in the yearbook of the association for history to the city Vienna.</span> <span class="systran_seg" id="seg_3">Volume <span class="systran_nfw_source" id="nfw_1">XXI/XXII</span> (1965/66)</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_4">ISBN 3 7952 0113 6</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 7pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_5">© 1971 <span class="systran_nfw_source" id="nfw_2">by</span> Hans's cutter, <span class="systran_nfw_source" id="nfw_3">Tutzing</span> sentence and pressure:</span> <span class="systran_seg" id="seg_6">Ernst Vögel, Munich 22, channel route 10</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-bidi-font-size: 12.0pt"> </span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt"><span class="systran_seg" id="seg_7">I.</span></span><span class="systran_seg" id="seg_7"> <span style="FONT-SIZE: 9pt; mso-ansi-language: DE">HUMANS AND ARTIST cut off</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><i><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_8">„The ear is at all the depth of the soul… the sound speaks the deeply hidden order of our inside on… “</span></span></i><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><i><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_9">Jean Faul</span></span></i><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-bidi-font-size: 12.0pt"> </span><o:p></o:p></p></div><br style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear="all"> <div class="Section2">
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_10">In the last quarter rationalistic and nevertheless at the same time sensitive and feeling seed 18.</span> <span class="systran_seg" id="seg_11">Century began the woman in the arts, particularly in the music to step out more important.</span> <span class="systran_seg" id="seg_12">Still even if no speech could be from emancipation and equal rights, it remained also further closely at house and family bound and in their educational facilities strongly neglected, then nevertheless „the time style of the feeling SAMness gave and then the romance the Mrs. Gelegenheit to express its actual and special so that they could be certain the general attention ". </span><sup><span class="systran_seg" id="seg_13">1</span></sup><span class="systran_seg" id="seg_13"> ever more frequently we in the Central European area professional musician inside, above all traveler <span class="systran_nfw_source" id="nfw_4">Virtuosinnen</span> meet or firmly into the music enterprise of a city integrated artists, as for instance at J.A. <span class="systran_nfw_source" id="nfw_5">Hillers</span> time <span class="systran_nfw_source" id="nfw_6">Gertrud</span> Schmeh <span class="systran_nfw_source" id="nfw_7">ling</span> and <span class="systran_nfw_source" id="nfw_8">Corona Schröter</span> than <span class="systran_nfw_source" id="nfw_9">Gesangsolistinnen</span> „of the large concert " in Leipzig, or at the</span></span><span class="systran_seg" id="seg_13"> <span style="FONT-SIZE: 9pt">IITH</span> <span style="FONT-SIZE: 9pt; mso-ansi-language: DE">k justified by <span class="systran_nfw_source" id="nfw_10">Joseph</span>.</span></span><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <span class="systran_seg" id="seg_14">k.</span> <span class="systran_seg" id="seg_15">National yard theater important opera singers such as <span class="systran_nfw_source" id="nfw_11">Catarina Cavalieri2</span>, Mozart of first <span class="systran_nfw_source" id="nfw_12">Konstanze</span>, and <span class="systran_nfw_source" id="nfw_13">Aloysia</span> webers, <span class="systran_nfw_source" id="nfw_14">verehel</span>.</span> <span class="systran_seg" id="seg_16">Be enough, for his sister-in-law.</span> <span class="systran_seg" id="seg_17">Also creative the women in still a world with own achievements, quite male despite all <span class="systran_nfw_source" id="nfw_15">Galanterie</span>, began to step out, as into Weimar the duchess nut/mother <span class="systran_nfw_source" id="nfw_16">Amalie</span>, in Vienna <span class="systran_nfw_source" id="nfw_17">the</span> <span class="systran_nfw_source" id="nfw_18">Porpora</span> and J. Haydn Pupil <span class="systran_nfw_source" id="nfw_19">Marianne</span> v. <span class="systran_nfw_source" id="nfw_20">Martinez.3</span> among these musicians are repeated also blind ones, blindly born or - more frequently - as consequence to black sheets, this hardly illness welfarable terrible before invention of the smallpox protective inoculation and - in in former times youth, like the <span class="systran_nfw_source" id="nfw_21">Pianistin</span> and <span class="systran_nfw_transfer" id="nfw_22">Komponistin</span> Maria <span class="systran_nfw_source" id="nfw_23">Theresia</span> <span class="systran_nfw_transfer" id="nfw_24">Paradis</span> and the <span class="systran_nfw_source" id="nfw_25">Glasharmonikaspielerin Mariane Kirchgessner</span> went blind.</span> <span class="systran_seg" id="seg_18">The connections between blindness and music gift are investigated and Hans's J. <span class="systran_nfw_source" id="nfw_26">Moser</span> are right surely, if it accepts with <span class="systran_nfw_source" id="nfw_27">Friedrich Rochlitz4</span>, it are still hardly more exactly under blind music gift neither more frequent nor stronger than under seeing;</span> <span class="systran_seg" id="seg_19">however the absence of the sense of face causes that a larger part of the general mental attention turns to the sense of hearing, so that the loss of <span class="systran_nfw_source" id="nfw_28">zerstreuender</span> face impressions is able to promote the internal collection on dichterisch musical conceptions.</span> <span class="systran_seg" id="seg_20">By the loss of the sense of face place-in substitution hearing and <span class="systran_nfw_transfer" id="nfw_29">Tastsinn</span> are strongly intensified by the so-called <span class="systran_nfw_source" id="nfw_30">Vicariat</span> of the senses.</span> <span class="systran_seg" id="seg_21">Meanwhile stresses <span class="systran_nfw_source" id="nfw_31">Rochlitz</span> surely applicable to thus create that this situation first only a sharpening of the memory, which talent and precision in the play, besides also abundance, security and beauty of the clay/tone, thus, in the existence call specific <span class="systran_nfw_source" id="nfw_32">Virtuosenfaktoren</span> without however creative fantasy, depth and <span class="systran_nfw_transfer" id="nfw_33">Zartheit</span> of the feeling, characteristics of original gift, - if these not already exist.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_22">Two such blind women, phenomena within their range and once carrier inside famous names, became important for old Austria, thus particularly for Vienna, in which as capital of a large realm its life energies pulsated above all:</span> <span class="systran_seg" id="seg_23">Maria <span class="systran_nfw_source" id="nfw_34">Theresia</span> <span class="systran_nfw_transfer" id="nfw_35">Paradis</span>, old Austrian official sex coming of, and <span class="systran_nfw_source" id="nfw_36">Mariane Kirchgessner</span>, after their origin South German ones, but by their <span class="systran_nfw_source" id="nfw_37">Virtuosenlaufbahn</span>, which took in Vienna its steep ascent, brought and toward end of its life into brilliant action went it again here with W. to A. Mozart into creative relationship, connected with this city closely.</span> <span class="systran_seg" id="seg_24">Unequally their fate companion the <span class="systran_nfw_source" id="nfw_38">Kirchgessner</span> stepped out probably not the whole effect and life circle of a musician, but itself on the <span class="systran_nfw_source" id="nfw_39">virtuose</span> play of its forgotten today, at that time much admired or met with hostility, from that Weimar one classical authors and still again and again instrument, which limits <span class="systran_nfw_source" id="nfw_40">Glasharmonika</span>, praised by the romantics.</span> <span class="systran_seg" id="seg_25">But their living and working are so characteristic of the <span class="systran_nfw_source" id="nfw_41">empfindsame</span> and for the earlyromantic epoch in the history of Vienna that it is probably worth the trouble to be occupied with it in this connection.</span></span><o:p></o:p></p>
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||
<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_26"><span class="systran_nfw_source" id="nfw_42">Mariane Kirchgessner5</span> came on 5 June 1769 into <span class="systran_nfw_source" id="nfw_43">Bruchsal6</span>, at that time residence of the prince bishop von <span class="systran_nfw_source" id="nfw_44">Speier</span>, today a provincial town of the former Grand Duchy of bathing, probably as</span></span><o:p></o:p></p>
|
||
<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE">8</span><o:p></o:p></p>
|
||
<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_28">fifth child of the <span class="systran_nfw_source" id="nfw_45">speierischen</span> chamber paymaster (<span class="systran_nfw_source" id="nfw_46">ärarii cameralis dispensatoris</span>) <span class="systran_nfw_source" id="nfw_47">Joseph Anton Kirchgessner</span> and his wife Maria <span class="systran_nfw_source" id="nfw_48">Theresia</span>, born <span class="systran_nfw_source" id="nfw_49">Wassmuth</span>, to the world and became on 9 June in the city parish church <span class="systran_nfw_source" id="nfw_50">SS</span>.</span> <span class="systran_seg" id="seg_29"><span class="systran_nfw_source" id="nfw_51">Damian</span> and <span class="systran_nfw_source" id="nfw_52">Hugo</span> after r. </span><span class="systran_seg" id="seg_30">- k.</span> <span class="systran_seg" id="seg_31">Rite baptized.</span> <span class="systran_seg" id="seg_32">That it was time life pious <span class="systran_nfw_source" id="nfw_53">Katholikin</span>, one can conclude from the fact that she requested still in her last illness in work living in December 1808 from the monastery <span class="systran_nfw_transfer" id="nfw_54">Paradies</span> in the canton <span class="systran_nfw_source" id="nfw_55">Thurgau</span> a <span class="systran_nfw_source" id="nfw_56">Beichtvater</span>, lain in the middle in Protestant country as enclave, and died after receipt of the <span class="systran_nfw_source" id="nfw_57">Sakramente</span>.</span> <span class="systran_seg" id="seg_33">On its desire it <span class="systran_nfw_source" id="nfw_58">was bestattet</span> also in the layman cemetery (today long waived) of the monastery to the last peace.</span></span><o:p></o:p></p>
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||
<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_34">Father <span class="systran_nfw_source" id="nfw_59">Kirchgessner</span> was active in the close place of pilgrimage <span class="systran_nfw_source" id="nfw_60">Waghäusel</span> (<span class="systran_nfw_source" id="nfw_61">Pfarre Wiesenthal</span>), where him between 1762 and 1766 four daughters were born, which after his transfer after <span class="systran_nfw_source" id="nfw_62">Bruchsal</span> as fifth and next to last Maria Anna followed.</span> <span class="systran_seg" id="seg_35">Two years later a sixth daughter, Maria <span class="systran_nfw_source" id="nfw_63">Gertrud Sophie</span>, was born, those in the last <span class="systran_nfw_transfer" id="nfw_64">Lebensjahren</span> of her famous sister their constant travel companion <span class="systran_nfw_source" id="nfw_65">wurde.8</span> both parents was musical, the father was a good <span class="systran_nfw_source" id="nfw_66">Cellist</span> and tenor singer, the nut/mother played piano and <span class="systran_nfw_transfer" id="nfw_67">Hackbrett</span> <span class="systran_nfw_source" id="nfw_68">trefflich</span>.</span> <span class="systran_seg" id="seg_36">The small <span class="systran_nfw_source" id="nfw_69">Mariane</span>, just as in music talented as their brothers and sisters, was struck with four years by the smallpox, one at that time as well as incurable illness, which caused its going blind by black star.</span> <span class="systran_seg" id="seg_37">The girl continued meanwhile regardless of the heavy misfortune, which had concerned her, its piano exercises and brought it, without systematic instruction to have received, so far that she could play small pieces with correct lecture and expression.</span> <span class="systran_seg" id="seg_38">The <span class="systran_nfw_source" id="nfw_70">Mäzen Josef Anton</span> S. realm baron von <span class="systran_nfw_source" id="nfw_71">Beroldingen</span>, <span class="systran_nfw_source" id="nfw_72">speierischer Domkapitular</span> and <span class="systran_nfw_source" id="nfw_73">Kammerpräsident9</span>, the child heard and found as much to favors at his talent that it transferred it to the <span class="systran_nfw_source" id="nfw_74">Karlsruher</span> <span class="systran_nfw_transfer" id="nfw_75">Kapellmeister</span> <span class="systran_nfw_source" id="nfw_76">Joseph Schmittbauer</span> for training, particularly in the <span class="systran_nfw_source" id="nfw_77">Glasharmonika</span>, an instrument, on which the <span class="systran_nfw_transfer" id="nfw_78">Kapellmeister</span> not only was <span class="systran_nfw_source" id="nfw_79">Virtuose</span>, but which it knew to manufacture also in good execution.</span> <span class="systran_seg" id="seg_39"><span class="systran_nfw_source" id="nfw_80">Beroldingen</span> was not content however with this assistance;</span> <span class="systran_seg" id="seg_40">it let yield for to, sound-beautiful instrument obviously much was interested, now about 10 years design old child of <span class="systran_nfw_source" id="nfw_81">Schmittbauer10</span> a <span class="systran_nfw_source" id="nfw_82">Glasharmonika</span> of the <span class="systran_nfw_source" id="nfw_83">Franklin</span> type, for which it the at that time completely extraordinarily high price of 100 <span class="systran_nfw_source" id="nfw_84">Speziesdukaten bezahlte.11</span> in more than ten-year study reached <span class="systran_nfw_source" id="nfw_85">Mariane</span> now a so high degree of technical perfection, <span class="systran_nfw_source" id="nfw_86">Virtuosität</span> on then highest popularity the pleasing instrument that their friends - their father had been retired 1790 with a quiescent benefit of 400 flat steel bars and had to be interested in a financial discharge also therefore - and sponsors, under it the <span class="systran_nfw_source" id="nfw_87">markgräfliche</span> yard to Karlsruhe, at which it had repeated itself hear to let, above all however its teacher <span class="systran_nfw_source" id="nfw_88">Schmittbauer</span></span> <span class="systran_seg" id="seg_41">right held the time to undertake a <span class="systran_nfw_source" id="nfw_89">Virtuosenreise</span> in order to prove a their being able and to use at the same time the chance to the acquisition of a fortune.</span> <span class="systran_seg" id="seg_42">Main earnings/services at coming off these nearly one decade continuing large art travel possess the <span class="systran_nfw_source" id="nfw_90">speierische</span> note printer, music publisher and newspaper publisher <span class="systran_nfw_source" id="nfw_91">Heinrich Philipp Bossler12</span>, one of the most interesting personalities of the German music life of those days, which in own business to Vienna traveled at that time and was ready, together with its wife the protection and, as we today would however probably say to take over the management of the young <span class="systran_nfw_source" id="nfw_92">Virtuosin</span> whereby he probably also hoped to find its use.</span> <span class="systran_seg" id="seg_43">From this travel community however a cordial friendship, those arose up to death for the artist still lasted itself and in agitating care during its last illness <span class="systran_nfw_source" id="nfw_93">äusserte.13</span></span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_44">The journey became in February 1791 <span class="systran_nfw_source" id="nfw_94">angetreten14</span> and led with stays in Heilbronn, Ludwigsburg and Stuttgart, where concerts were given, to Munich, Salzburg and <span class="systran_nfw_source" id="nfw_95">Linz</span>.</span> <span class="systran_seg" id="seg_45">In the upper-Austrian state capital it did not play 24. 4 on. the 1791 in the theater alone and with company of <span class="systran_nfw_source" id="nfw_96">konzertanten</span> instruments with so large success that newspaper, which contained art and culture messages at that time only rarely brought the Viennese a <span class="systran_nfw_transfer" id="nfw_97">korrespondentenbericht</span>, that its <span class="systran_nfw_source" id="nfw_98">Entzücken</span> better than by stating an expression Christian <span class="systran_nfw_source" id="nfw_99">Fr. Daniel</span> thrust kind</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_46">expresses to be able <span class="systran_nfw_source" id="nfw_100">meinte.15</span> now was smoothed it also the soil in Vienna, where she nearly five months was and three times <span class="systran_nfw_source" id="nfw_101">konzertierte.16</span> next destination was Prague, where she had her repertoire on 23 October 1791 in the concert hall of the hotel to the bath <span class="systran_nfw_source" id="nfw_102">konzertierte.17</span> with their departure from <span class="systran_nfw_source" id="nfw_103">Bruchsal</span> predominantly from <span class="systran_nfw_source" id="nfw_104">Soli</span>, chamber music and pieces of concert of its friend <span class="systran_nfw_source" id="nfw_105">Joh</span>.</span> <span class="systran_seg" id="seg_47">F. Christian man or its land man <span class="systran_nfw_source" id="nfw_106">Johann Eichhorn18</span> and probably its teacher <span class="systran_nfw_source" id="nfw_107">Joseph Schmittbauer</span> existed, then was it in Vienna by the wonderful <span class="systran_nfw_source" id="nfw_108">Quintett</span> (<span class="systran_nfw_source" id="nfw_109">KV</span> 617) W.A. Mozarts for <span class="systran_nfw_source" id="nfw_110">Glasharmonika</span>, flute, oboe, <span class="systran_nfw_source" id="nfw_111">Viola</span> and <span class="systran_nfw_transfer" id="nfw_112">Violoncello</span>, a <span class="systran_nfw_source" id="nfw_113">Adagio</span> for <span class="systran_nfw_source" id="nfw_114">Glasharmonika</span> solo (<span class="systran_nfw_source" id="nfw_115">KV</span> 356 = <span class="systran_nfw_source" id="nfw_116">KV</span> 617a) and different - untraceable - compositions enriched by January <span class="systran_nfw_source" id="nfw_117">Wanhall</span>, to those later still the 6 <span class="systran_nfw_source" id="nfw_118">Sonaten</span> OI written for it.</span> <span class="systran_seg" id="seg_48">4 of <span class="systran_nfw_source" id="nfw_119">Johann</span> G. <span class="systran_nfw_source" id="nfw_120">Naumann</span> and Werke von <span class="systran_nfw_source" id="nfw_121">Anton Reicha</span> stepped.</span> <span class="systran_seg" id="seg_49">In Dresden it could play in February 1792 before generally only the cure prince <span class="systran_nfw_source" id="nfw_122">Friedrich</span> August</span></span><span class="systran_seg" id="seg_49"> <span style="FONT-SIZE: 9pt">III.</span> <span style="FONT-SIZE: 9pt; mso-ansi-language: DE">with difficulty accessible for <span class="systran_nfw_source" id="nfw_123">Virtuosen</span> and by it was richly presented, while its <span class="systran_nfw_source" id="nfw_124">Oberkapellmeister Naumann</span>, even a good <span class="systran_nfw_source" id="nfw_125">Glasharmonikaspieler</span> could do, it for the best living artist on this instrument and without <span class="systran_nfw_source" id="nfw_126">Rivalin erklärte.19</span> in close Leipzig it twice (15. 1. and 10. 2. 1792) in of travelers the artists much desired „extra concerts " in the garb house to arise, on large success <span class="systran_nfw_source" id="nfw_127">hindeutet.20</span> in April 1792 we meet what it in Berlin, where it inspired the king <span class="systran_nfw_source" id="nfw_128">Friedrich</span> William IL in such a way by its play that it it in four evenings to play into the lock come</span></span><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <span class="systran_seg" id="seg_51">The journey led it then to Hamburg, where it played at the end of of 1792 and by the criticism admired <span class="systran_nfw_source" id="nfw_129">wurde21</span>, to Copenhagen and Holland and finally to England, where evenly <span class="systran_nfw_source" id="nfw_130">Joseph Haydn</span> stayed at that time for the second time and was celebrated in „the <span class="systran_nfw_source" id="nfw_131">Salomon</span> c&lt;-<sup>concerts</sup> by the premieres of its <span class="systran_nfw_source" id="nfw_132">Londoner</span> symphonies.</span> <span class="systran_seg" id="seg_52">In the sixth Salomon concert into the Hanover <span class="systran_nfw_source" id="nfw_133">Square Rooms did not debütierte</span> it on 17. the 3. 1794 with one after the time custom in more detail specified <span class="systran_nfw_source" id="nfw_134">Quintett</span>, probably that 1791 in Vienna von Mozart for it composed.</span> <span class="systran_seg" id="seg_53">The English criticism praised beauty and perfection of its play and regretted only certainly the small striking power and clarity of the tones convenient in the nature of the instrument.</span> <span class="systran_seg" id="seg_54">Already in the ninth Salomon concert from 7 April 1794 the blind one could be heard again, this time as a <span class="systran_nfw_source" id="nfw_135">Sonate</span>, their composer not indicated <span class="systran_nfw_source" id="nfw_136">wird.22</span> you would know one of <span class="systran_nfw_source" id="nfw_137">Naumann</span>, of J. Eichhorn or of <span class="systran_nfw_source" id="nfw_138">Joseph Schlett</span> for the sentimental instrument written been <span class="systran_nfw_source" id="nfw_139">sein.22a</span> supposed has <span class="systran_nfw_source" id="nfw_140">Haydn</span>, by that in both concerts „large <span class="systran_nfw_transfer" id="nfw_141">Ouvertüren</span> ", thus symphonies, was played, on this occasion also <span class="systran_nfw_source" id="nfw_142">Mariane Kirchgessner</span> played heard, like probably of it nothing mentioned its handwritten diary of the second English journey.</span> <span class="systran_seg" id="seg_55">Except in the two Salomon concerts it played in addition, in own concerts and 1795, similarly as it the Mozart children 1765 in their hotel did, in its dwelling in pole and <span class="systran_nfw_source" id="nfw_143">Street</span> under the <span class="systran_nfw_source" id="nfw_144">Patronanz</span> of the <span class="systran_nfw_source" id="nfw_145">Duchess</span> OF <span class="systran_nfw_source" id="nfw_146">York</span> twice daily against a <span class="systran_nfw_source" id="nfw_147">Entre</span> of 5 sports club hears themselves leaving during however in the case both the Mozarts' certainly dropping their former popularity and a change the mode to it had led that the two had to produce themselves last in former times from aristocracy and <span class="systran_nfw_source" id="nfw_148">Gentry umworbenen</span> children in a modest hotel, over the residence costs to <span class="systran_nfw_source" id="nfw_149">bestreiten24</span> might one with <span class="systran_nfw_source" id="nfw_150">Mariane Kirchgessner</span> not wrongly go, if one assumes that these private concerts appearing strange for us had purely commercial purpose and</span> <span class="systran_seg" id="seg_56">the high direction of a public, orchestra-accompanied usual concert to save should, particularly since <span class="systran_nfw_source" id="nfw_151">recitals</span>, <span class="systran_nfw_source" id="nfw_152">Solistenkonzerte</span> on an instrument were not yet common.</span> <span class="systran_seg" id="seg_57">The fact that these considerations worked satisfactorily shows the reports of the <span class="systran_nfw_source" id="nfw_153">Quellen25</span>, them in London wealth had acquired, which its late the acquisition of a countryseat in <span class="systran_nfw_source" id="nfw_154">Gohlis</span> made possible with Leipzig.</span> <span class="systran_seg" id="seg_58">The blind one had to regret their stay in the metropolis in addition, otherwise not and one understands that it expanded him until 1796.</span> <span class="systran_seg" id="seg_59">Here she found that German mechanic <span class="systran_nfw_source" id="nfw_155">Fröschel</span> (also <span class="systran_nfw_source" id="nfw_156">Fröschle</span>), who built it either a new and therefore substantially <span class="systran_nfw_source" id="nfw_157">lautstärkere Glasharmonika</span> provided with a resonance soil, or this improvement at its past, from the workshop <span class="systran_nfw_source" id="nfw_158">Schmitt</span> <span class="systran_nfw_source" id="nfw_159">bauers</span> coming instrument attached.</span> <span class="systran_seg" id="seg_60">This <span class="systran_nfw_source" id="nfw_160">Fröschei</span> instrument it then always on its art journeys with itself led and up to its dying <span class="systran_nfw_source" id="nfw_161">benutzt.26</span> in London was it also that it treated an optician Dr. Fiedler - probably also a native German - with „eye landing on water " so successfully that he could return it without operational interference at least one light light and the ability, the outlines and colors from articles to <span class="systran_nfw_source" id="nfw_162">erkennen.27</span> is required also in relation to such reports from the before-scientific time of the medicine restraint and exists no uniform view of the physicians also here over the case, then it was appropriate nevertheless obviously substantially differently than that Maria <span class="systran_nfw_source" id="nfw_163">Theresia</span> <span class="systran_nfw_transfer" id="nfw_164">Paradis</span>, that the famous <span class="systran_nfw_source" id="nfw_165">Psychotherapeut</span> Dr. <span class="systran_nfw_source" id="nfw_166">Franz Anton Mesmer</span> had not been able through</span> <span class="systran_seg" id="seg_61">its „<span class="systran_nfw_source" id="nfw_167">animalischen</span> magnetism " continuously vision to return, a success that certainly also the modest <span class="systran_nfw_source" id="nfw_168">Londoner</span> physician remained malfunctioned.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_62">In November 1796 already was it the continent and concentrated successfully in Hamburg.</span> <span class="systran_seg" id="seg_63">Whether it continued to travel from there directly or only after a longer recovery break over Denmark and Northern Germany to Russia, can be recognized not surely.</span> <span class="systran_seg" id="seg_64">If the report should apply of the <span class="systran_nfw_source" id="nfw_169">Braunschweigi</span> magazine No. 14 of 1801 that it traveled from Hamburg first - naturally for concert purposes - to Copenhagen, from there Luebeck, <span class="systran_nfw_source" id="nfw_170">Mecklenburg</span>, <span class="systran_nfw_source" id="nfw_171">Pommern</span>, Ostpreussen, cure country and live country, then this travel a <span class="systran_nfw_source" id="nfw_172">Parforceleistung</span> continuing with the condition at that time of the roads and means of transport particularly unfavorable in Northern Germany very cumbersome and several weeks would represent and would make it understandable that it seven months in Petersburg was.</span> <span class="systran_seg" id="seg_65">Also the return journey over the Baltic provinces of Russia, East Prussia, Poland, <span class="systran_nfw_source" id="nfw_173">Schlesien</span> and over the border mountains and the <span class="systran_nfw_source" id="nfw_174">Lausitz</span> to Saxonia was hardly a smaller effort, even in the good season.</span> <span class="systran_seg" id="seg_66">With these Russian <span class="systran_nfw_source" id="nfw_175">Exkursion</span> however their travel activity had exceeded the high point.</span> <span class="systran_seg" id="seg_67">After nearly ten-year stay on the highways and in the music cities of Europe it sat down now 1799 together with its friends <span class="systran_nfw_source" id="nfw_176">Bossler</span> in the <span class="systran_nfw_source" id="nfw_177">Dorfe</span> at that time <span class="systran_nfw_source" id="nfw_178">Gohlis</span> (today a northern suburb of Leipzig) on a countryseat to the peace, which it could purchase from the English <span class="systran_nfw_source" id="nfw_179">Ersparnissen28</span>.</span> <span class="systran_seg" id="seg_68">During the travel decade it fame, had not only acquired fortunes and European validity but also <span class="systran_nfw_source" id="nfw_180">Fasch</span>, J. <span class="systran_nfw_source" id="nfw_181">Haydn</span>, F. hoping master, W.A. Mozart, J.G. <span class="systran_nfw_source" id="nfw_182">Naumann</span>, A. <span class="systran_nfw_source" id="nfw_183">Salieri</span>, K.F. <span class="systran_nfw_source" id="nfw_184">Reichardt</span>, J. <span class="systran_nfw_source" id="nfw_185">Vanhall</span> to learn opportunity had, from those several among other things know a number of large musicians of the epoch, like <span class="systran_nfw_source" id="nfw_186">Clementi</span>, for them compositions wrote and the blind one thereby on the piano <span class="systran_nfw_source" id="nfw_187">begleiteten.29</span></span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_69">Into that their address in <span class="systran_nfw_source" id="nfw_188">Gohlis</span> (around 1800) the following years undertook it only more a concert travel to Stuttgart (1802), where it played on 16 January in a concert led by J.H. <span class="systran_nfw_source" id="nfw_189">Zumsteeg</span> and still in an academy in favor of the survivors of this on the following day suddenly the deceased important <span class="systran_nfw_source" id="nfw_190">Balladenkomponisten</span> participated.</span> <span class="systran_seg" id="seg_70">The war events intervened twice in their life.</span> <span class="systran_seg" id="seg_71">First as it at the end of of 1805 to Vienna applied, over after completing a concert activity in the Danube city to Italy further to iron, but by the Austrian-French war in Vienna some months was held and in April a concert to only give and to an academy in <span class="systran_nfw_source" id="nfw_191">k.k</span>.</span> <span class="systran_seg" id="seg_72">Castle theater to participate could.</span> <span class="systran_seg" id="seg_73">Returned home without their Italy plans to have carried out, it reached the war in their new homeland <span class="systran_nfw_source" id="nfw_192">Gohlis</span>, when after the exit of the campaign of 1806 Hussars, unfortunate for the Saxonia fighting on side of Prussia, it was Frenchman or <span class="systran_nfw_source" id="nfw_193">marodierende</span> Saxonian departments, published on its countryseat and they treated „hard ", thus obviously <span class="systran_nfw_source" id="nfw_194">plünderten</span> and them threatened.</span> <span class="systran_seg" id="seg_74">Certainly it is possible that the <span class="systran_nfw_source" id="nfw_195">zartbesaitete</span> woman suffered a shock by this raw treatment.</span> <span class="systran_seg" id="seg_75">Meanwhile she recovered soon so far that she prepared still another new <span class="systran_nfw_source" id="nfw_196">Kunstfahrt30</span> - it should become their the latter -, it in <span class="systran_nfw_source" id="nfw_197">Bosslers</span> company across South Germany into Switzerland to lead itself should to Zurich, <span class="systran_nfw_source" id="nfw_198">Luzern</span> and <span class="systran_nfw_source" id="nfw_199">Yverdon</span> at the new citizen lake, where <span class="systran_nfw_source" id="nfw_200">Pestalozzi</span> lived, which she, equipped with recommendation letters, wanted to visit.</span> <span class="systran_seg" id="seg_76">Over this journey however a <span class="systran_nfw_source" id="nfw_201">Unstern</span> <span class="systran_nfw_source" id="nfw_202">waltete</span>.</span> <span class="systran_seg" id="seg_77">Still it could on 15. the 11. 1808 in Stuttgart, where it spoke among other things a solo one of <span class="systran_nfw_source" id="nfw_203">Antonin Reicha</span> and a <span class="systran_nfw_source" id="nfw_204">Sonate</span> of <span class="systran_nfw_source" id="nfw_205">Cherubini</span>, as well as on 27. the 11. 1808 in Tübingen <span class="systran_nfw_source" id="nfw_206">konzertieren</span>.</span> <span class="systran_seg" id="seg_78">Notion-fully it played J.S. Bachs <span class="systran_nfw_source" id="nfw_207">Choral</span> here „which God does, that is done good ", because it carried already the death germ in itself.</span> <span class="systran_seg" id="seg_79">With a <span class="systran_nfw_transfer" id="nfw_208">Wagenfahrt</span> for the attendance of its of Baden brother living in desert home as a civil servant, whom she had not for many years any longer seen, it drew at a cold, <span class="systran_nfw_source" id="nfw_209">nebeligen</span> November night, while it had to wait on free field for the repair of a car defect, a heavy cold too, which neglects, apparent, worsened.</span> <span class="systran_seg" id="seg_80">After the <span class="systran_nfw_source" id="nfw_210">Tübinger</span> concert continued to travel it with snow and cold weather, arrived on 2. 12. the 1808 at work living, where however already the first signs of a pneumonia adjusted themselves, to which the art of the physicians had not been up to at that time yet.</span> <span class="systran_seg" id="seg_81">After illness, improvement of several days and back cases the patient recognized Ernst of her condition, left from the monastery <span class="systran_nfw_transfer" id="nfw_211">Paradies</span> an r. </span><span class="systran_seg" id="seg_82">- k.</span> <span class="systran_seg" id="seg_83">Religious ones come, put it the <span class="systran_nfw_source" id="nfw_212">Beichte</span> down, asked in its garden to be buried and died, by H. pH.</span> <span class="systran_seg" id="seg_84"><span class="systran_nfw_source" id="nfw_213">Bossler</span> faithfully <span class="systran_nfw_source" id="nfw_214">umsorgt</span>, to 9. 12. against 1/2 9 o'clock in the evening.</span> <span class="systran_seg" id="seg_85">In accordance with their desire it <span class="systran_nfw_source" id="nfw_215">was bestattet</span> on 13. 12. the 1808 under a mourning escort at the layman cemetery of the monastery, consisting of music lovers of work living.</span> <span class="systran_seg" id="seg_86">The grave is equal that one their suffering and art companion M. <span class="systran_nfw_source" id="nfw_216">Th</span>.</span> <span class="systran_seg" id="seg_87"><span class="systran_nfw_transfer" id="nfw_217">Paradis</span> and the W.A. Mozarts <span class="systran_nfw_source" id="nfw_218">verschollen</span> - in the earth <span class="systran_nfw_source" id="nfw_219">versunken.31</span> in the general musical newspaper a short appreciation appeared and in following May from the feather/spring H. pH in January 1809.</span> <span class="systran_seg" id="seg_88"><span class="systran_nfw_source" id="nfw_220">Bosslers</span> a <span class="systran_nfw_source" id="nfw_221">Nekrolog</span>, which was meant as fragment (never published) of a biography.</span> <span class="systran_seg" id="seg_89"><span class="systran_nfw_transfer" id="nfw_222">Gerber</span> wrote then in his new one to historically biographic clay/tone artist encyclopedia (1813) the first detailed biography, on that essentially all later encyclopedias the 19.</span> <span class="systran_seg" id="seg_90">Century are based.</span> <span class="systran_seg" id="seg_91">As supplement to volume</span></span><span class="systran_seg" id="seg_91"> <span style="FONT-SIZE: 9pt"><span class="systran_nfw_source" id="nfw_223">XI</span> the</span> <span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_nfw_source" id="nfw_224">AMZ</span> (frame 368) published the Czech composer <span class="systran_nfw_source" id="nfw_225">Wenzel Tomaschek</span> a <span class="systran_nfw_source" id="nfw_226">fugiertes</span> strange piece of clay/tone „<span class="systran_nfw_source" id="nfw_227">Fantasie</span> for the <span class="systran_nfw_transfer" id="nfw_228">Harmonika</span> at the grave of the <span class="systran_nfw_source" id="nfw_229">Dlle Kirchgessner</span> so much earned around this instrument ", hardly less pedantically and <span class="systran_nfw_source" id="nfw_230">pedantisch</span> than its title.</span></span><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <span class="systran_seg" id="seg_92">It is already interesting because it is one of the few received pieces for missing persons the instrument, in addition, because it forms a proof for it that the memory of the large <span class="systran_nfw_source" id="nfw_231">Virtuosin</span> was still alive in Prague, where <span class="systran_nfw_source" id="nfw_232">Tomaschek</span> may have heard it with their concert 1791.</span> <span class="systran_seg" id="seg_93">The men, who had praised their play in admiring words, like <span class="systran_nfw_source" id="nfw_233">Johann</span> G. <span class="systran_nfw_source" id="nfw_234">Naumann</span> and Christian D. <span class="systran_nfw_source" id="nfw_235">Schubart32</span>, had already died before it, its faithful friend and travel companion H. pH.</span> <span class="systran_seg" id="seg_94"><span class="systran_nfw_source" id="nfw_236">Bossler</span> followed their already 1812 in death.</span> <span class="systran_seg" id="seg_95">And in such a way remained soon only the <span class="systran_nfw_source" id="nfw_237">papierene</span> immortality of the music encyclopedias, which brought their name on future generations.</span> <span class="systran_seg" id="seg_96">It is, as the French proverb says:</span> <span class="systran_seg" id="seg_97">„<span class="systran_nfw_source" id="nfw_238">Quand</span> on <span class="systran_nfw_source" id="nfw_239">est mort</span>, <span class="systran_nfw_source" id="nfw_240">c'est pour longtemps</span>. “</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_98">We know few from their private life and possess, are also so strange, no picture of their outside feature, although them at fame certainly M. <span class="systran_nfw_source" id="nfw_241">Th</span>.</span> <span class="systran_seg" id="seg_99"><span class="systran_nfw_transfer" id="nfw_242">Paradis</span> not <span class="systran_nfw_source" id="nfw_243">nachstand33</span> and twice in Vienna for months lived, where nevertheless except considerable haven guessingists also <span class="systran_nfw_source" id="nfw_244">Hieronymus</span> deletion Kohl, which <span class="systran_nfw_transfer" id="nfw_245">Bildreporter</span> of that epoch worked, which hardly an opportunity missed, interesting events and personalities with its pin <span class="systran_nfw_source" id="nfw_246">festzuhalten.34</span> there it never in the center of a large scandal, like M. <span class="systran_nfw_source" id="nfw_247">Th</span>.</span> <span class="systran_seg" id="seg_100"><span class="systran_nfw_transfer" id="nfw_248">Paradis</span> by the <span class="systran_nfw_source" id="nfw_249">psychotherapeutische</span> treatment Dr. F failed. A. <span class="systran_nfw_source" id="nfw_250">Mesmers</span>, also the newspapers of the epoch were concerned just as little with its person as after their death the <span class="systran_nfw_source" id="nfw_251">Belletristik.35</span> in such a way are we on few short notes dependant, particularly on the announcement of their death in the <span class="systran_nfw_source" id="nfw_252">AM2</span> 1809/15 and H. pH.</span> <span class="systran_seg" id="seg_101"><span class="systran_nfw_source" id="nfw_253">Bosslers Nekrolog</span> from 10. 5. the 1809 in the same magazine, and also this give more details over their artistic personality, particularly over their <span class="systran_nfw_source" id="nfw_254">Harmonikaspiel</span>, their musical taste and their <span class="systran_nfw_transfer" id="nfw_255">Lernmethode</span> than over a character, kind of nature and life habits.</span> <span class="systran_seg" id="seg_102">Despite an occasional, very understandable attraction barness it carried its heavy lot calm and with quiet <span class="systran_nfw_source" id="nfw_256">Resignation36</span>, was friendly, obliging and free from artist moods.</span> <span class="systran_seg" id="seg_103">From their except-musical knowledge and abilities we hardly know something, above all not, whether it was speak-well-informed and which interest took it at its environment and it to surrounding living conditions questions about which we in case of M. <span class="systran_nfw_source" id="nfw_257">Th</span>.</span> <span class="systran_seg" id="seg_104"><span class="systran_nfw_transfer" id="nfw_258">Paradis</span> very exactly informed are.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_105">It obviously did not control at that time the techniques of the blind and/or blind notation already existing and new pieces studied it, by being able to be played the same so long on the piano, until she knew her owing to her above average good hearing by heart.</span> <span class="systran_seg" id="seg_106">Hand printering or a note typesetting machine, as friends invented it for the blind <span class="systran_nfw_transfer" id="nfw_259">Paradis</span>, learned and used those them rapidly to control, obviously never possessed the <span class="systran_nfw_source" id="nfw_260">Kirchgessner</span>.</span> <span class="systran_seg" id="seg_107">Only one interest in literature is <span class="systran_nfw_source" id="nfw_261">überliefert37</span>, which could be read out it gladly, certainly without we their taste in this section knows.</span> <span class="systran_seg" id="seg_108">Above all however it tried to never pass their large art on pupils, it never in the educational subject operated and also never <span class="systran_nfw_source" id="nfw_262">komponiert.38</span> your mental rain SAMness and general education stayed certainly considerably behind that one that <span class="systran_nfw_transfer" id="nfw_263">Paradis</span>, whose rounded off, balanced and very active personality obviously never reached her.</span> <span class="systran_seg" id="seg_109">That is connected particularly with its origin from modest conditions in a small South German province small town, incomparably moves and intensive influences, which affected in <span class="systran_nfw_source" id="nfw_264">theresianischen</span> and <span class="systran_nfw_source" id="nfw_265">josefinischen</span> Vienna the versatile and finely educated daughter of the yard secretary J.A. <span class="systran_nfw_transfer" id="nfw_266">Paradis</span>.</span> <span class="systran_seg" id="seg_110">In addition, it had not the luck with personalities such as F.S. <span class="systran_nfw_source" id="nfw_267">Greiner</span>, Wolfgang v. <span class="systran_nfw_source" id="nfw_268">Kempelen</span>, <span class="systran_nfw_source" id="nfw_269">Antonio Salieri</span>, Dr. <span class="systran_nfw_source" id="nfw_270">Franz</span> A. <span class="systran_nfw_source" id="nfw_271">Mesmer</span> and the many <span class="systran_nfw_source" id="nfw_272">josefinischen</span> poets, like <span class="systran_nfw_source" id="nfw_273">Retzer</span>, <span class="systran_nfw_source" id="nfw_274">Alxinger</span>, to operate <span class="systran_nfw_source" id="nfw_275">Denis</span> which formed their spirit, their intelligence to sharpen could.</span> <span class="systran_seg" id="seg_111">An event however contains its moved, but nevertheless not very detailled life, around which it would have perhaps envied the <span class="systran_nfw_transfer" id="nfw_276">Paradis</span>:</span> <span class="systran_seg" id="seg_112">their acquaintance with Goethe.</span> <span class="systran_seg" id="seg_113">The diaries of the <span class="systran_nfw_source" id="nfw_277">Olympiers39</span> are occupied in two places with the <span class="systran_nfw_source" id="nfw_278">Kirchgessner</span>, which it visited to 29. 6. and 28. 7. 1808 during a bath stay in Karl bath.</span> <span class="systran_seg" id="seg_114">To 29. 6. it played their <span class="systran_nfw_source" id="nfw_279">illustren</span> guest of some on the <span class="systran_nfw_transfer" id="nfw_280">Harmonika</span>, to 28. 7. fed it with it.</span> <span class="systran_seg" id="seg_115">Whether and on which kind the acquaintance was justified, is not well-known, since these two notes are the only one (become admits to me), in which the name of the <span class="systran_nfw_source" id="nfw_281">Kirchgessner</span> is called.</span> <span class="systran_seg" id="seg_116">Goethe's universal interest in its environment into its outstanding <span class="systran_nfw_source" id="nfw_282">Erscheinungen40</span>, which him particularly in the <span class="systran_nfw_source" id="nfw_283">böhmischen</span> baths, where he was released from affairs of state, with important or also only attractive personalities feeling take up let, likes it induced have to learn to know the famous <span class="systran_nfw_transfer" id="nfw_284">Harmonika</span> <span class="systran_nfw_source" id="nfw_285">virtuosin</span> which had at the same time visited the world health resort with it.</span> <span class="systran_seg" id="seg_117">Unfortunately we do not know, how Goethe expressed himself over the blind one and to what extent it was impressed by their person and its play.</span> <span class="systran_seg" id="seg_118">If the often quoted, unfortunately so far pour-moderately provable <span class="systran_nfw_source" id="nfw_286">Wort41</span>, it does not hear the heart blood of the world from the chords held of the <span class="systran_nfw_transfer" id="nfw_287">harmonika</span>, really of Goethe comes, then it likes at such an opportunity pleases to be, like probably it neither in its letters nor in its maintenances is noted.</span> <span class="systran_seg" id="seg_119">Perhaps <span class="systran_nfw_source" id="nfw_288">Mariane Kirchgessner</span> died in due time, in order no more in the following the decade not using and fall of its disputed spirit life <span class="systran_nfw_source" id="nfw_289">angeschwärmten</span>, later than thinly, European carried out around 1830, of a whole epoch, poorly and clay-poor designated instrument to experience, of simpler, cheaper and instruments, particularly from the <span class="systran_nfw_transfer" id="nfw_290">Harmonium</span> and the harmonica, which can be handled more easily, was displaced.</span> <span class="systran_seg" id="seg_120">Their own precious instrument is likewise <span class="systran_nfw_source" id="nfw_291">verschollen</span>, as that one, which saved Dr. <span class="systran_nfw_source" id="nfw_292">Franz</span> A. <span class="systran_nfw_source" id="nfw_293">Mesmer</span> by all storms of its life until its dying place Meersburg.</span> <span class="systran_seg" id="seg_121">Probably it divided the lot of most of these precious-frail instruments to be slowly broken to always disappear and in a <span class="systran_nfw_source" id="nfw_294">Rumpelkammer</span>.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_122">Vienna means an important station in the life of the <span class="systran_nfw_source" id="nfw_295">Kirchgessner</span>:</span> <span class="systran_seg" id="seg_123">without their sensational successes of 1791, without which interest W would have. A. Mozarts, who wrote the most valuable and most famous piece for <span class="systran_nfw_source" id="nfw_296">Glasharmonika</span> for it, their west and northEuropean art journey hardly the piercing success obtained, which led it to celebrity.</span> <span class="systran_seg" id="seg_124">And their last large travel led it the Danube and to new triumphs.</span> <span class="systran_seg" id="seg_126">But it clearly speaks from that</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_127">admitted to Eipeldauer letters, this echo of the public opinion of Vienna, if it <span class="systran_nfw_source" id="nfw_297">sagen42</span>:</span> <span class="systran_seg" id="seg_128">„A famous <span class="systran_nfw_source" id="nfw_298">Harmonikaspielerin</span> could a popular actress (<span class="systran_nfw_source" id="nfw_299">Mme</span> rose) there be heard and in addition <span class="systran_nfw_source" id="nfw_300">deklamiert</span> there, and there we heard a true harmonious bell play. “</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_129">Thus of Vienna thought people of the largest <span class="systran_nfw_source" id="nfw_301">Harmonikaspielerin</span> of their - perhaps all - times, and so it, the oblivion earns <span class="systran_nfw_source" id="nfw_302">entrissen</span> to become.</span></span> <o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-bidi-font-size: 12.0pt"> </span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-ansi-language: DE"><span class="systran_seg" id="seg_130">IL section</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-ansi-language: DE"><span class="systran_seg" id="seg_131">The <span class="systran_nfw_source" id="nfw_303">GLASHARMONIKA</span> novel of an instrument</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><i><span style="FONT-SIZE: 8pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_132">„The effect of the instrument borders on the marvelous and it is that if it should be lost again, the narration of it for the future would be probable, which the history of the lyra of the <span class="systran_nfw_source" id="nfw_304">Orpheus</span> for us is ".</span> <span class="systran_seg" id="seg_133">K.L. <span class="systran_nfw_source" id="nfw_305">Röllig</span>, over the <span class="systran_nfw_source" id="nfw_306">Glasharmonika</span>, a fragment.</span> <span class="systran_seg" id="seg_134">Berlin.</span> 1787.</span></i><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-ansi-language: DE"><span class="systran_seg" id="seg_136">Only in individual, usually defective and <span class="systran_nfw_source" id="nfw_307">unspielbaren</span> copies this strange and much <span class="systran_nfw_source" id="nfw_308">fristet</span> admired instrument of the feeling seeds time, which was called by the contemporaries - before invention of the harmonica and the <span class="systran_nfw_transfer" id="nfw_309">Harmoniums</span> - absolutely „<span class="systran_nfw_transfer" id="nfw_310">Harmonika</span> ", a <span class="systran_nfw_source" id="nfw_311">museales</span> existence.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-ansi-language: DE"><span class="systran_seg" id="seg_137">Its forerunner, the probably from China coming, over the middle and front <span class="systran_nfw_source" id="nfw_312">Orient</span> to Europe arrived „to glass play " (<span class="systran_nfw_source" id="nfw_313">verillon</span>, musical of <span class="systran_nfw_source" id="nfw_314">glasses</span>) enjoyed particularly in the England 18.</span> <span class="systran_seg" id="seg_138">Century of large <span class="systran_nfw_source" id="nfw_315">Beliebtheit1</span>, and <span class="systran_nfw_source" id="nfw_316">Virtuosen</span>, like the Irish smelling pool of broadcasting corporations <span class="systran_nfw_source" id="nfw_317">Puckeridge</span>, its pupil <span class="systran_nfw_source" id="nfw_318">Ann</span> Ford and E.H. <span class="systran_nfw_source" id="nfw_319">Delaval</span>, were able on the water-filled <span class="systran_nfw_source" id="nfw_320">to konzertieren</span> differently large <span class="systran_nfw_transfer" id="nfw_321">Gläsern</span> by fastening with a <span class="systran_nfw_source" id="nfw_322">Stöckchen</span> or rubbing with the fingertips.</span> <span class="systran_seg" id="seg_139">Luck could be heard in London and Copenhagen on the musical <span class="systran_nfw_source" id="nfw_323">glasses</span> publicly, and <span class="systran_nfw_source" id="nfw_324">Benjamin Franklin</span> (1706-1790), the famous physicist and statesman, which had come 1756 in affairs of state to London and <span class="systran_nfw_source" id="nfw_325">Puckeridge</span> had heard, received here the suggestion to experiments, which should improve the primitive glass play and increase its musical value substantially.</span> <span class="systran_seg" id="seg_140">In attempts of several years <span class="systran_nfw_source" id="nfw_326">Franklin</span> developed around 1762 - perhaps already 1761 - from the musical of the <span class="systran_nfw_source" id="nfw_327">glasses</span> new <span class="systran_nfw_source" id="nfw_328">Glasharmonika2</span>, by setting a rotary friction instrument in place of the individual glasses, whose tendency changed by evaporating or burying its water filling easily, „around the glasses more suitably and more near to arrange, a larger number of tones to bring out to be able and the whole for the player sitting before the instrument more comfortably furnish ". </span><span class="systran_seg" id="seg_141">It set glass bowls (<span class="systran_nfw_transfer" id="nfw_329">Kalotten</span>) for <sup>3</sup> in place of the glasses, which were so into one another interlocked lined up their tendency continuously <span class="systran_nfw_source" id="nfw_330">beibehielten4</span> and on an axle resting in two camps after size the fact that they did not affect each other but up to a finger-broad edge covered.</span> <span class="systran_seg" id="seg_142">With this edge in each case the next lower bowl protruded from the larger <span class="systran_nfw_source" id="nfw_331">gereihten</span> before it</span></span><span class="systran_seg" id="seg_142"> <span style="FONT-SIZE: 9pt; mso-ansi-language: DE">(and deeper), so that a conical thing developed, which built <span class="systran_nfw_source" id="nfw_332">Franklin</span> into a lockable secretary-like container.</span></span><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <span class="systran_seg" id="seg_143">A flywheel fastened to the wave stood by a cord with a pedal-like footboard in connection, by whose manipulation of the glass cones in the direction away from the player in circulation one shifted.</span> <span class="systran_seg" id="seg_144">The sitting the player before the instrument rubs now with the moistened fingertips the rotary glass bowls and produces by it the clay/tone, its strength and quality it by <span class="systran_nfw_transfer" id="nfw_333">Vermehrung</span> or reduction of the pressure, in addition, by change of the peripheral speed of the glass cone up to certain degrees <span class="systran_nfw_source" id="nfw_334">kann.5</span> modifies for the easier orientation of the player on first only equipped instrument with 24 glass bowls and an extent of g-g the " provided <span class="systran_nfw_source" id="nfw_335">Franklin</span> the <span class="systran_nfw_source" id="nfw_336">diatonischen</span> bowls with a painting in the colors of the solar spectrum, which. <span class="systran_nfw_source" id="nfw_337">Röllig</span>, which was concerned two decades later intensively with the improvement of the <span class="systran_nfw_source" id="nfw_338">Glasharmonika</span>, eliminated chromatic with a white <span class="systran_nfw_source" id="nfw_339">Rand.6</span> K.L the coat of paint, because he regarded him as the clay/tone quality unfavorably, and occupied</span> <span class="systran_seg" id="seg_145">only the half-tones, which corresponded to the black piano keys, with golden strips.</span> <span class="systran_seg" id="seg_146"><span class="systran_nfw_source" id="nfw_340">Franklin</span>, which played even the new instrument very well, gave it to the Englishwoman <span class="systran_nfw_source" id="nfw_341">Marianne Davies7</span>, which soon a recognized <span class="systran_nfw_source" id="nfw_342">Virtuosin wurd</span> and the <span class="systran_nfw_transfer" id="nfw_343">Harmonika</span> on the continent (Paris 1765, Vienna 1773) with large success publicly demonstrated, while in England the glass play further maintained ground, even the recent instrument outlasted.</span> <span class="systran_seg" id="seg_147">Soon the extent of the <span class="systran_nfw_source" id="nfw_344">Glasharmonika</span> was extended, first of <span class="systran_nfw_source" id="nfw_345">Joseph Alois Schmittbauer</span> in Karlsruhe, which equipped it with particularly selected <span class="systran_nfw_transfer" id="nfw_346">crystal kristallgläsern</span> and which extent expanded since C-f ''', later even C ''''.</span> <span class="systran_seg" id="seg_148">To whom an important is due improvement, i.e. the attachment of a water tank underneath the glass cone, which the glass bowls pass with each revolution and so already moistened at the fingertips of the player arrive, is to not <span class="systran_nfw_source" id="nfw_347">bekannt.8 Franklins</span> instrument possessed thus against other reports already a chromatic scale, was not however because of the number becoming more largely with each extent extension</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-bidi-font-size: 12.0pt"> </span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><b><i><span style="FONT-SIZE: 11pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_149">Berlin 1787.</span></span></i></b><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><b><i><span style="FONT-SIZE: 7pt; FONT-FAMILY: Arial; mso-ansi-language: DE"><span class="systran_seg" id="seg_150">- <span class="systran_nfw_source" id="nfw_348">jnasrr</span></span></span></i></b><o:p></o:p></p></div><br style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear="all"> <div class="Section3">
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-ansi-language: DE"><span class="systran_seg" id="seg_151">to play from <span class="systran_nfw_transfer" id="nfw_349">Kalotten</span> certainly easily.</span> <span class="systran_seg" id="seg_152">The invention of the Belgian <span class="systran_nfw_source" id="nfw_350">Joseph Deudon</span> (Paris 1786), which attached moistened <span class="systran_nfw_transfer" id="nfw_351">Tuchstreifen</span>, which made the wetting of the finger crests dispensable between fingers and glass bowls, in addition, inserted a shift (feeder), which it should make possible to play also in cross and <span class="systran_nfw_source" id="nfw_352">B-</span><span class="systran_nfw_source" id="nfw_353">Tonarten</span> easily seems oneself proven to <span class="systran_nfw_source" id="nfw_354">haben.9</span></span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-ansi-language: DE"><span class="systran_seg" id="seg_153">In this shape the instrument for slow speeds, chords held and pieces without strong modulation was quite suitably, less against it for rapid pieces, for runs, manners, trills and from the piano taken over passages.</span> <span class="systran_seg" id="seg_154">Master of the <span class="systran_nfw_transfer" id="nfw_355">Harmonika</span> such as <span class="systran_nfw_source" id="nfw_356">Joseph</span> pH.</span> <span class="systran_seg" id="seg_155"><span class="systran_nfw_source" id="nfw_357">Frick</span>, <span class="systran_nfw_source" id="nfw_358">Marianne Davies</span> and late <span class="systran_nfw_source" id="nfw_359">Mariane Kirchgessner</span> were able to master however these difficulties and also the chord play controlled them perfectly.</span> <span class="systran_seg" id="seg_156">More than with other instruments hung however here feasibility and sound beauty both of being able the player, how of the instrument used by the quality <span class="systran_nfw_source" id="nfw_360">ab.10</span> and was now the sound of this unusual instrument, which is entmaterialisiert praised of the one as ethereally, sphere detention, called poorly, sentimentally and nerve-up-attractive of other one, which applied for some police authorities as so dangerously that it was forbidden short hand?</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-ansi-language: DE"><span class="systran_seg" id="seg_157">Still the museums of European and American cities retain individual copies, but their small number by the Second World War and its accompaniments were recently strongly decreased.</span> <span class="systran_seg" id="seg_158">Only very few are still playable and still rarer are a specialist, who must examine the reports of the contemporaries, who could hear the instrument still in its gloss time on them to play <span class="systran_nfw_source" id="nfw_361">weiss.11</span> we therefore.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-ansi-language: DE"><span class="systran_seg" id="seg_159">A delimitation of its sound effect resulted already from it that it possessed no bass notes and - so differently the individual <span class="systran_nfw_source" id="nfw_362">Harmonikabauer</span> also its extent set - rarely under f, exeptionally to C down-handed, but however many high overtones exhibited.</span> <span class="systran_seg" id="seg_160">The <span class="systran_nfw_source" id="nfw_363">Sext</span> was usually the extreme attainable tension, and small <span class="systran_nfw_source" id="nfw_364">Septen</span> the <span class="systran_nfw_transfer" id="nfw_365">Oktave</span> coated by the unpainted into was their uncomfortable situation because of with difficulty to</span></span><span class="systran_seg" id="seg_160"> <span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_nfw_source" id="nfw_366">spielen.12</span> also the execution of <span class="systran_nfw_transfer" id="nfw_367">Triolen</span> difficulties, likewise chords in the far situation, met, although straight these were particularly appropriate for the character of the <span class="systran_nfw_transfer" id="nfw_368">Harmonika</span>.</span></span><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"> <span class="systran_seg" id="seg_161">A standard work such as Mozart <span class="systran_nfw_source" id="nfw_369">Quintett KV</span> 617 is so rich at such and other technical difficulties that the opinion develop for <span class="systran_nfw_source" id="nfw_370">konnte13</span>, the <span class="systran_nfw_source" id="nfw_371">Kirchgessner</span> has itself, in order to be able to speak it (and professionally manufactured at that time already admitted) a palpation (piano) <span class="systran_nfw_transfer" id="nfw_372">Harmonika</span> served.</span> <span class="systran_seg" id="seg_162">However apart from the fact that Mozart, who knows 1773 the instrument in the house Dr. F.A. <span class="systran_nfw_source" id="nfw_373">Mesmers</span> had learned and on him had played <span class="systran_nfw_transfer" id="nfw_374">zugemutet</span> never virtually impracticable to a <span class="systran_nfw_source" id="nfw_375">Virtuosen</span>, and even the critic of the <span class="systran_nfw_source" id="nfw_376">AM2</span> grants, the part is, although not easy <span class="systran_nfw_source" id="nfw_377">to exekutieren</span> so nevertheless well and would be at the most some well not lying places to rewrite, possesses we an unsuspected certification for the fact that the <span class="systran_nfw_source" id="nfw_378">Kirchgessner</span> never availed itself of a <span class="systran_nfw_source" id="nfw_379">Tastenharmonika</span>, because you did not remain their clay/tone giving and <span class="systran_nfw_transfer" id="nfw_380">Tonfarbe</span> <span class="systran_nfw_source" id="nfw_381">zusagten.14</span> you rather time life <span class="systran_nfw_source" id="nfw_382">Schmittbauer</span>, according to B. <span class="systran_nfw_source" id="nfw_383">Franklin</span> designed instrument faithfully, and replaced it in London only by the instrument built by the mechanic <span class="systran_nfw_source" id="nfw_384">Fröschel</span> for it also</span> <span class="systran_seg" id="seg_163">inserted resonance soil, which increased the sound strength substantially, but otherwise held the old type.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_164">With expressions as „sphereful, „", „siren sounds " is ethereal that, the instrument does not certainly know and also only little prospect an old <span class="systran_nfw_source" id="nfw_385">Glasharmonika</span> the time between 1770 and 1830 to hear, little helped, and also the characterization, its sound has with no different one to never replace also not to that of the <span class="systran_nfw_source" id="nfw_386">Claviers</span> (<span class="systran_nfw_source" id="nfw_387">Clavichords</span>) comparably and by this <span class="systran_nfw_transfer" id="nfw_388">näherbringt</span> us just as few to a precise sound conception, like K.F. <span class="systran_nfw_source" id="nfw_389">Cramers Eulogie</span>, the <span class="systran_nfw_transfer" id="nfw_390">Harmonika</span> is „an indescribably beautiful instrument, that at sweet ones and <span class="systran_nfw_transfer" id="nfw_391">Zartheit</span> of the clay/tone the human voice exceed " or K.L. <span class="systran_nfw_source" id="nfw_392">Rölligs</span>, the inventor of the <span class="systran_nfw_source" id="nfw_393">Tastenharmonika</span>,</span> <span class="systran_seg" id="seg_165">Judgment, it is „the most beautiful and most pleasant of all instruments, which for each humans possessed, which exceeds even high expectations and whose effects on the marvelous border ". </span><sup><span class="systran_seg" id="seg_166">15</span></sup><span class="systran_seg" id="seg_166"> however it grants nevertheless,</span></span> <v:shape id="_x0000_i1027" style="WIDTH: 297.75pt; HEIGHT: 192.75pt" type="#_x0000_t75" coordsize="21600,21600"><v:imagedata o:title="" src="./stp89A_files/image005.jpg"></v:imagedata></v:shape><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><i><span style="FONT-SIZE: 20pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_167"><span class="systran_nfw_source" id="nfw_394">Franz</span></span></span></i><i><span class="systran_seg" id="seg_167"> <span style="FONT-SIZE: 20pt">Konrad <span class="systran_nfw_source" id="nfw_395">Bartl</span></span></span></i><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><i><span style="FONT-SIZE: 11pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_168">on</span></span></i><i><span class="systran_seg" id="seg_168"> <span style="FONT-SIZE: 11pt">that</span></span></i><span style="FONT-SIZE: 11pt; mso-ansi-language: DE">| <i><span class="systran_seg" id="seg_170"><span class="systran_nfw_source" id="nfw_396">t.t.mi</span></span></i><span class="systran_seg" id="seg_170"> fiber plastic <i>industrial union <span class="systran_nfw_source" id="nfw_397">cdum</span></i><span class="systran_nfw_source" id="nfw_397"> <span style="TEXT-TRANSFORM: uppercase">iu</span> <i>Slttmte</i></span><i>.</i></span></span><o:p></o:p></p>
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<p class="MsoNormal"><v:shape id="_x0000_i1028" style="WIDTH: 201pt; HEIGHT: 150.75pt" type="#_x0000_t75" coordsize="21600,21600"><v:imagedata o:title="" src="./stp89A_files/image007.jpg"></v:imagedata></v:shape><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><i><span style="FONT-SIZE: 5pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_171"><span class="systran_nfw_source" id="nfw_398">I.SniäU</span> l) CC,</span></span></i><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 11pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_172">9mt</span> <i><span class="systran_seg" id="seg_173">f</span> </i> <span class="systran_seg" id="seg_174"><span class="systran_nfw_source" id="nfw_399">c£xFfertafefK</span>.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><b><i><span style="FONT-SIZE: 5pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_175"><span class="systran_nfw_source" id="nfw_400">IG.Pekoriuj.Jc Bitin</span>,</span></span></i></b><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><i><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_176"><span class="systran_nfw_source" id="nfw_401">Sm</span>.</span> <span class="systran_seg" id="seg_177">- often <span class="systran_nfw_source" id="nfw_402">ihrlosst</span>}</span></span></i><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_177"> 4es&gt;i&gt;cl (&gt; <i><span class="systran_nfw_source" id="nfw_403">cöaLlcr c£mtft</span></i></span><i> <span class="systran_seg" id="seg_178"><span class="systran_nfw_source" id="nfw_404">unb</span></span> </i> <span class="systran_seg" id="seg_179"><span class="systran_nfw_source" id="nfw_405">more ^Öucljjjättbfer</span></span></span><o:p></o:p></p></div><br style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear="all"> <div class="Section4">
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_180">that its effect of the played composition, in addition, of tendency, temperature and lecture depends and is not always alike therefore.</span> <span class="systran_seg" id="seg_181">Also is stressed, the sound effect more frequently fatigues the listener after short time and blunt it <span class="systran_nfw_source" id="nfw_406">ab.16</span> the large advantage of the <span class="systran_nfw_source" id="nfw_407">Franklin</span> instrument that those the glass bowls once praised when sharpening given tendency notion, with good reason as a main preference/advantage.</span></span> <o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"> <span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_184"><span class="systran_nfw_source" id="nfw_408">Schiller</span> meant more sober, its effect „could become powerful in certain situations, it promised itself high inspiration of it ".</span> <span class="systran_seg" id="seg_185">That an actual representative of the feeling seeds time is in the literature, Christian D. kind of thrust and Jean <span class="systran_nfw_source" id="nfw_409">Paul20</span>, in expressions highest <span class="systran_nfw_source" id="nfw_410">Entzückens</span> <span class="systran_nfw_source" id="nfw_411">schwärmerisch</span> over the <span class="systran_nfw_transfer" id="nfw_412">Harmonika</span> discussions, naturally, and Jean <span class="systran_nfw_source" id="nfw_413">Paul</span> equated their sound again and again that the AOL sharpness.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_186">Certainly also the contemporaries could not lock for the serious dangers, those the <span class="systran_nfw_source" id="nfw_414">Harmonikaklang</span> for the listener, above all however the player caused and in some German cities for the police prohibition of the instrument <span class="systran_nfw_source" id="nfw_415">führte.21</span></span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_187">With few exceptions judged the musicians and music writer 18. and still 19.</span> <span class="systran_seg" id="seg_188">Century, even - retrospectively - authors of our time, which <span class="systran_nfw_source" id="nfw_416">Harmonikaklang</span> both because of its many high overtones, when particularly because of from the coated glass bowls into the fingertips, which lead most sensitive points of the palpation feeling, flowing oscillations for nerves harmful, because by them vibrations of the nervous system are released, those particularly with passionate, imprudent play to nervous diseases.</span> <span class="systran_seg" id="seg_189"><span class="systran_nfw_source" id="nfw_417">Virtuosen</span> such as pH.</span> <span class="systran_seg" id="seg_190"><span class="systran_nfw_source" id="nfw_418">Frick</span>, <span class="systran_nfw_source" id="nfw_419">Marianne Davies</span> and K.L. <span class="systran_nfw_source" id="nfw_420">Röllig</span> (that its illness describes in detail) would have therefore the play on the <span class="systran_nfw_transfer" id="nfw_421">Harmonika</span> to give up <span class="systran_nfw_source" id="nfw_422">müssen.22</span> however to contradict two outstanding music writers decided this <span class="systran_nfw_source" id="nfw_423">These20</span> and a psychiatrist of international reputation deny likewise a general injurious character of the instrument.</span> <span class="systran_seg" id="seg_191">It grants however that hypersensitive persons, who come with it into contact put their own problem into this meeting and therefore with different symptoms lain in their personality <span class="systran_nfw_source" id="nfw_424">reagieren.24</span> also in this question belonging in the border area between music and medicine the decision must remain open.</span> <span class="systran_seg" id="seg_192">The dominant nevertheless led view of the nerve danger of the <span class="systran_nfw_transfer" id="nfw_425">Harmonika</span> to attempts, which fingertip friction to switch off and by <span class="systran_nfw_source" id="nfw_426">a mechanism</span> <span class="systran_nfw_source" id="nfw_427">Violinbogen</span> with the <span class="systran_nfw_source" id="nfw_428">Bogenharmonika</span> of the <span class="systran_nfw_source" id="nfw_429">Abbate Mazzuchi25</span>, or installation of a keyboard, whose keys operated tangents, to which on <span class="systran_nfw_source" id="nfw_430">Rosshaarpolstern</span> damp swimming or pieces of cloth were fastened - already <span class="systran_nfw_source" id="nfw_431">Frick</span> had attached the clay/tone to <span class="systran_nfw_source" id="nfw_432">produzieren.26</span> this keyboard 1769, certainly unsuccessfully, until into the 1780er years at several places nearly at the same time instrument farmer the technical side of the problem with certain differentiations - or three waves, on which with different peripheral speeds the glass cones rotated - <span class="systran_nfw_source" id="nfw_433">lösten.27</span> chord play, rapid speeds, fast runs and ornaments were now substantially relieved, but the majority of the music writers was correct therein</span> <span class="systran_seg" id="seg_193">that the keyboard did not become the fine innervation and <span class="systran_nfw_source" id="nfw_434">Seelenhaftigkeit</span> of the <span class="systran_nfw_source" id="nfw_435">Franklin</span> <span class="systran_nfw_transfer" id="nfw_436">Harmonika</span> painted with fingers <span class="systran_nfw_source" id="nfw_437">erreiche.28</span> around the turn of the century also the building from key instruments given up and one returned to the <span class="systran_nfw_source" id="nfw_438">Franklin</span> type;</span> <span class="systran_seg" id="seg_194">as far as I know at present anywhere more a playable <span class="systran_nfw_source" id="nfw_439">Klavierharmonika</span> is not in museums or collections.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_195">In addition, the victorious <span class="systran_nfw_source" id="nfw_440">Franklin</span> <span class="systran_nfw_transfer" id="nfw_441">Harmonika</span> was displaced <span class="systran_nfw_source" id="nfw_442">Physharmonika</span> last soon by cheaper, and instruments of similar tone quality which can be played which can be learned more easily as <span class="systran_nfw_source" id="nfw_443">Accordeon</span>, and by the <span class="systran_nfw_transfer" id="nfw_444">Harmonium</span>, above all because the taste changed, and the public of the romantic and the following epoch the stronger, highly differentiated orchestra sound the ethereal-tender <span class="systran_nfw_source" id="nfw_445">Säuseln</span> of the <span class="systran_nfw_transfer" id="nfw_446">Harmonika</span> <span class="systran_nfw_source" id="nfw_447">vorzog.29</span> around 1830 was terminated and the instrument practically disappeared this process.</span> <span class="systran_seg" id="seg_196">In most recent time developed the glass harp <span class="systran_nfw_source" id="nfw_448">Bruno Hoffmanns30</span>, which falls back to the principle of the glass play, by fixing, in a resonance soil putting, exactly tuned glass bells by circling movement of moistened fingers to sounding brings.</span> <span class="systran_seg" id="seg_197">The instrument connects the advantages <span class="systran_nfw_source" id="nfw_449">Franklin</span> with those the <span class="systran_nfw_source" id="nfw_450">Tastenharmonika</span> without by imperfect central rotation of the bowls caused unintentional on and <span class="systran_nfw_source" id="nfw_451">Abschwellen</span> of the tones, and permits the execution of all passages, ornaments, trills and the chord play.</span> <span class="systran_seg" id="seg_198">Its sound resembles that one the <span class="systran_nfw_source" id="nfw_452">Franklin</span> <span class="systran_nfw_transfer" id="nfw_453">Harmonika</span> and on it leaves itself also to the Mozarts <span class="systran_nfw_source" id="nfw_454">Quintett KV</span> 617 easily <span class="systran_nfw_source" id="nfw_455">ausführene</span>.</span> <span class="systran_seg" id="seg_199">To what extent it will achieve the former popularity of the <span class="systran_nfw_source" id="nfw_456">Glasharmonika</span>, is however an open question.</span></span><o:p></o:p></p></div><br style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear="all"> <div class="Section5">
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt"><span class="systran_seg" id="seg_200">III.</span></span><span class="systran_seg" id="seg_200"> <span style="FONT-SIZE: 9pt; mso-ansi-language: DE">Section</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_201">THE CONCERT ACTIVITY <span class="systran_nfw_source" id="nfw_457">KIRCHGESSNER</span> IN VIENNA 1791 AND 1806</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><i><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_202">„Humans are generally speaking lives blindly ".</span></span></i><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><i><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_203">Fist IITH 5.</span></span></i><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-bidi-font-size: 12.0pt"> </span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_204">It was not certain coincidence that the blind artist, as soon as it terminates equal its teachers, friends and sponsors their training for and regarded the time for - at that time as today usual - the evaluation of its <span class="systran_nfw_source" id="nfw_458">Könnens</span> by a large concert journey right, when first important destination selected after completing the first obligations in the native German south Vienna.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_205">Old Austria was not bare in <span class="systran_nfw_source" id="nfw_459">the Swabian</span> <span class="systran_nfw_source" id="nfw_460">badensischen</span> area by the possession of the so-called <span class="systran_nfw_source" id="nfw_461">Vorlande</span> a politically important power, Vienna was at that time generally speaking German Reich prominent music metropolis, far more strongly than the German north controlling Leipzig.</span> <span class="systran_seg" id="seg_206">Still lived Mozart, whose fame had spread over completely just like that of the 1790 to England <span class="systran_nfw_source" id="nfw_462">Joseph Haydn</span> traveled long Central Europe.</span> <span class="systran_seg" id="seg_207">Beside them a pleiad of small masters, like <span class="systran_nfw_source" id="nfw_463">Antonio Salieri</span>, worked <span class="systran_nfw_source" id="nfw_464">Leopold Kozeluch</span>, <span class="systran_nfw_source" id="nfw_465">Franz</span> A. Hoffmeister, <span class="systran_nfw_source" id="nfw_466">Adalbert Gyrowetz</span>, <span class="systran_nfw_source" id="nfw_467">Johann</span> B. <span class="systran_nfw_source" id="nfw_468">Wanhall</span>, <span class="systran_nfw_source" id="nfw_469">Leopold</span> Hoffmann, the song masters <span class="systran_nfw_source" id="nfw_470">Joseph</span> A. <span class="systran_nfw_source" id="nfw_471">Steffan</span>, <span class="systran_nfw_source" id="nfw_472">Martin Rupprecht</span> and J.H. green forest beside the <span class="systran_nfw_source" id="nfw_473">Singspielkomponisten Ferdinand Kauer</span> and <span class="systran_nfw_source" id="nfw_474">Wenzel</span> Mueller.</span> <span class="systran_seg" id="seg_208">In Vienna and taught also the famous theoretician <span class="systran_nfw_source" id="nfw_475">Johann</span> G. <span class="systran_nfw_source" id="nfw_476">Albrechtsberger</span> lived, and a recent generation of pianists already grew up:</span> <span class="systran_seg" id="seg_209">Mozart's pupil <span class="systran_nfw_source" id="nfw_477">Johann</span> N. a short while before (1790) to Vienna former pupils <span class="systran_nfw_source" id="nfw_478">Leopold</span> Mozart and <span class="systran_nfw_source" id="nfw_479">Michael Haydns Joseph Wölfl</span> moved to <span class="systran_nfw_transfer" id="nfw_480">Hummel</span> and <span class="systran_nfw_source" id="nfw_481">Josephine Aurnhammer</span>, its friend <span class="systran_nfw_source" id="nfw_482">Anton Eberl</span>, that.</span> <span class="systran_seg" id="seg_210">Two women, <span class="systran_nfw_source" id="nfw_483">Marianne</span> of <span class="systran_nfw_source" id="nfw_484">Martinez</span> and blind Maria <span class="systran_nfw_source" id="nfw_485">Theresia</span> <span class="systran_nfw_transfer" id="nfw_486">Paradis</span>, worked in Vienna as <span class="systran_nfw_transfer" id="nfw_487">Komponistinnen</span> and these, only 1786 of a large and successful European journey returned home, left themselves still now and then in the concerts of the clay/tone artist partnership as <span class="systran_nfw_source" id="nfw_488">Pianistin</span> of rank <span class="systran_nfw_source" id="nfw_489">hören.1</span> the violin were by Karl <span class="systran_nfw_source" id="nfw_490">Ditters</span> v. <span class="systran_nfw_source" id="nfw_491">Dittersdorf</span> and after its outlet of Vienna by <span class="systran_nfw_source" id="nfw_492">Joseph Starzer</span> and the brothers <span class="systran_nfw_source" id="nfw_493">Paul</span> and <span class="systran_nfw_source" id="nfw_494">Anton Wranitzky</span>, both from the yard opera orchestra, which <span class="systran_nfw_transfer" id="nfw_495">Violoncello</span> by <span class="systran_nfw_source" id="nfw_496">Joseph Reicha</span>, uncle of the composer <span class="systran_nfw_source" id="nfw_497">Anton Reicha</span>, and <span class="systran_nfw_source" id="nfw_498">Vincenz Hauschka</span> represent, louder efficient musicians, like probably no internationally recognized <span class="systran_nfw_source" id="nfw_499">Meister.2 Virtuosen</span> on their instrument and by its relations with Mozart admit, were also the <span class="systran_nfw_transfer" id="nfw_500">Klarinettist</span> <span class="systran_nfw_source" id="nfw_501">Anton Stadler</span> and that</span> <span class="systran_seg" id="seg_211">Bugler <span class="systran_nfw_source" id="nfw_502">Ignaz Leitgeb</span>.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_212">Viennese the music life was variously and qualitatively, based on the requirements of that time, also high-quality.</span> <span class="systran_seg" id="seg_213">Music formed in circles high aristocracy and „second society ", to which one the high civil servants, whom counted low aristocracy and the rising wealthy, trade and industry driving middle class, an important and indispensable part of the education and the cultural standard.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_214">If Vienna possessed except the 1772 based, its activity however on two double academies to Christmas and before Easter limiting clay/tone artist partnership still no concert orchestra from professional musicians, then this gap was nevertheless to a large extent filled out <span class="systran_nfw_source" id="nfw_503">Grassalkovich</span> by the house chapels of the high aristocracy, the Lobko joke, <span class="systran_nfw_source" id="nfw_504">Esterhazy</span>, Schwarzenberg, until at the end of the century war and financial needs forced their dissolution.</span> <span class="systran_seg" id="seg_215">In addition, in the circles art-loving <span class="systran_nfw_source" id="nfw_505">Bürgerund</span> of bureaucracy eagerly and <span class="systran_nfw_source" id="nfw_506">Dilettanten</span>, of which some were very well trained, was made music gave e.g. in that houses of the yard advice <span class="systran_nfw_source" id="nfw_507">Franz</span> S. v. <span class="systran_nfw_source" id="nfw_508">Greiner</span> or the yard secretary J.A. <span class="systran_nfw_transfer" id="nfw_509">Paradis</span> academies for loaded guests and friends of the <span class="systran_nfw_source" id="nfw_510">Hauses3</span>, to those in addition, <span class="systran_nfw_source" id="nfw_511">distinguierte</span> foreigner, traveler or „to persons of conditions " admission found.</span> <span class="systran_seg" id="seg_216">Piano play belonged in these circles for the women, whose educational facilities were otherwise small, to the good clay/tone and formed a part of its <span class="systran_nfw_source" id="nfw_512">Erziehung.4</span> the model of the ruling family, in which up to <span class="systran_nfw_source" id="nfw_513">Leopold</span> IL one made music much, may here have been determining.</span> <span class="systran_seg" id="seg_217">On the other hand 18 was missing in the Vienna of the last decade.</span> <span class="systran_seg" id="seg_218">Century those public lover concerts <span class="systran_nfw_transfer" id="nfw_514">dargebotenen</span> by <span class="systran_nfw_source" id="nfw_515">Dilettanten</span> led and, with those for instance in Leipzig the heavyweight of urban music care lay and those, subscriber or single visitors against admission fee accessible, under the line of a recognized musician of the city regularly in the season of orchestral concerts <span class="systran_nfw_source" id="nfw_516">veranstalteten.5</span> Vienna possessed at that time only two, structurally the <span class="systran_nfw_source" id="nfw_517">Leipzigern</span> or similar north Germans not comparable lover concerts:</span> <span class="systran_seg" id="seg_219">in „the flour pit " at the flour market (today new market) and concerts of kind of August, at which Mozart took for a while large portion.</span> <span class="systran_seg" id="seg_220">Later it led the violonist <span class="systran_nfw_source" id="nfw_518">Rudolf</span> and, than they already came into purge to quite agree that from <span class="systran_nfw_source" id="nfw_519">Beethovens</span> life well-known violonists <span class="systran_nfw_source" id="nfw_520">Ignaz Schuppanzigh.6</span> it are <span class="systran_nfw_source" id="nfw_521">Hanslick</span> if it leads back the absence of an important public lover concert according to kind of the <span class="systran_nfw_source" id="nfw_522">Leipziger</span> of garb house concert to the structural difference of the music life in one - for terms at that time - large, a large city, and in a medium-sized town, because in the large city in view of the penetration of the social life with music a lover concert was not by any means in same degrees the need as there.</span> <span class="systran_seg" id="seg_221">In addition still another richly developed church music came, and the two yard theaters, in which German and Italian operas and <span class="systran_nfw_source" id="nfw_523">Singspiele</span> were specified, represented an incessantly flowing source of musical suggestion.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_222">Concerts individually more native or traveler <span class="systran_nfw_source" id="nfw_524">Virtuosen</span> took place, but by far not as often and regularly as later in 19.</span> <span class="systran_seg" id="seg_223">Century.</span> <span class="systran_seg" id="seg_224">The <span class="systran_nfw_source" id="nfw_525">Virtuose</span> had it in a time without concert agencies and with undeveloped newspaper and publicity nature heavily.</span> <span class="systran_seg" id="seg_225">If it followed the rare academies of the clay/tone artist partnership, then it was allowed to count not on considerable profit.</span> <span class="systran_seg" id="seg_226">If it wanted to give however a concert on own calculation, then it had only the choice between the hall in „the flour pit " or that of the <span class="systran_nfw_source" id="nfw_526">Traiteurs Jahn</span> in the <span class="systran_nfw_source" id="nfw_527">Himmelpfortgasse</span>.</span> <span class="systran_seg" id="seg_227">The <span class="systran_nfw_source" id="nfw_528">Redoutensäle</span> and the two yard theaters were left only rarely and also then only at free from play, so-called <span class="systran_nfw_source" id="nfw_529">Normatagen</span>, at <span class="systran_nfw_source" id="nfw_530">Virtuosen</span> by rank, and the rent was not inconsiderable.</span> <span class="systran_seg" id="seg_228">Besides such concerts had by bring along or in Vienna issued recommendation letters to influential, wealthy personalities well prepared and sponsors had to be found, the maps removed and other <span class="systran_nfw_source" id="nfw_531">Subscribenten</span> brought.</span> <span class="systran_seg" id="seg_229">Since <span class="systran_nfw_source" id="nfw_532">Sonate</span> and song were still hardly concertable, the <span class="systran_nfw_source" id="nfw_533">Virtuose</span> had to give one evening with orchestra company, at which it played concerts or sang airs.</span> <span class="systran_seg" id="seg_230">So the artist, above all the foreign had to carry a substantial financial risk and fight besides with one - not always unfounded - to prejudice.</span> <span class="systran_seg" id="seg_231">Because <span class="systran_nfw_source" id="nfw_534">Scharlatane</span> or <span class="systran_nfw_source" id="nfw_535">Dilettanten</span> abused the music love of the public again and again and discredited thereby the whole <span class="systran_nfw_source" id="nfw_536">Beruf.7</span> for famous or popular artists were certainly Vienna a soil, which could be plowed easy and was enough fruit carried.</span> <span class="systran_seg" id="seg_232">Nevertheless Mozart had soon after his address Vienna as „the best place of the world " and as „the true piano country " <span class="systran_nfw_source" id="nfw_537">bezeichnet.8</span> in addition, good violonists came gladly and pretty often.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_233">Into this music-satisfied environment now the blind stepped <span class="systran_nfw_source" id="nfw_538">Glasharmonika</span> <span class="systran_nfw_source" id="nfw_539">virtuosin</span>, in order to give their first concert in the large music city here in April 1791.</span> <span class="systran_seg" id="seg_234">Their strange, much admired instrument was no longer unknown to the <span class="systran_nfw_source" id="nfw_540">Wienern</span>.</span> <span class="systran_seg" id="seg_235">Already beginning</span> <span class="systran_seg" id="seg_236">that</span> <span class="systran_seg" id="seg_237">70's</span> <span class="systran_seg" id="seg_238">Years</span> <span class="systran_seg" id="seg_239">was</span> <span class="systran_seg" id="seg_240">those</span> <span class="systran_seg" id="seg_241">English</span> <span class="systran_seg" id="seg_242"><span class="systran_nfw_source" id="nfw_541">Harmonikaspielerin Marianne Davies</span>, to which the inventor of the instrument <span class="systran_nfw_source" id="nfw_542">Benjamin Franklin</span> had left such an instrument, perhaps its own, come to Vienna, and had achieved with yards large successes.</span> <span class="systran_seg" id="seg_243"><span class="systran_nfw_source" id="nfw_543">Metastasio</span> had toned <span class="systran_nfw_source" id="nfw_544">Adolf</span> hate it for it a desert sealed, and together with their sister, the <span class="systran_nfw_source" id="nfw_545">Sopranistin Cecilia Davies</span>, had it this work <span class="systran_nfw_source" id="nfw_546">vorgetragen.9</span> fast became the instrument in Vienna mode and at that time the physician Dr. <span class="systran_nfw_source" id="nfw_547">Franz Anton Mesmer</span> standing at the beginning of its successes as <span class="systran_nfw_source" id="nfw_548">Psychotherapeut</span> could a <span class="systran_nfw_source" id="nfw_549">Glasharmonika</span> around the very high amount of 50 <span class="systran_nfw_source" id="nfw_550">Dukaten</span> be built.</span> <span class="systran_seg" id="seg_244">After the certification <span class="systran_nfw_source" id="nfw_551">Leopold</span> Mozart, who heard him with its attendance in Vienna 1773 in its garden palace on the highway, it controlled the play technology <span class="systran_nfw_source" id="nfw_552">vollkommen10</span>, and the ethereal, charmful tones of the instrument served the eagerly experimenting physician with its <span class="systran_nfw_source" id="nfw_553">Seancen</span> for the calming of the patients, who were shifted thereby into one for the tasks „of the <span class="systran_nfw_source" id="nfw_554">animalischen</span> magnetism " favorable tendency.</span> <span class="systran_seg" id="seg_245">At that time the recent W.A. Mozart played at that time on the <span class="systran_nfw_source" id="nfw_555">Glasharmonika</span>, which its father could not certainly buy the high costs because of, and became acquainted with the Mozarts perhaps in the palace <span class="systran_nfw_source" id="nfw_556">Mesmers11</span> also the English <span class="systran_nfw_source" id="nfw_557">Virtuosin</span>.</span> <span class="systran_seg" id="seg_246">Memories of this youth experience may have along-played, as W.A. Mozart 1791 at the art of the young <span class="systran_nfw_source" id="nfw_558">Kirchgessner</span> portion took and for them the most beautiful work for this instrument, which composed <span class="systran_nfw_source" id="nfw_559">Quintett</span> for flute, oboe, <span class="systran_nfw_source" id="nfw_560">Viola</span>, cello and <span class="systran_nfw_source" id="nfw_561">Glasharmonika KV</span> 617.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_247">From public concerts of the <span class="systran_nfw_source" id="nfw_562">Marianne Davies</span> in Vienna nothing is well-known.</span> <span class="systran_seg" id="seg_248">But in March 1791, thus only few weeks before the arrival of the <span class="systran_nfw_source" id="nfw_563">Kirchgessner</span>, a traveler <span class="systran_nfw_source" id="nfw_564">Virtuose</span> came from Northern Germany, Karl <span class="systran_nfw_source" id="nfw_565">Leopold Röllig</span>, which was concerned as an inventor and technical designer with the improvement of the piano, the elbow wing and the <span class="systran_nfw_source" id="nfw_566">Glasharmonika</span> and 1780 in Dresden had also worked at that time at on the <span class="systran_nfw_source" id="nfw_567">Glasharmonika</span> interested J.G. <span class="systran_nfw_source" id="nfw_568">Naumann</span> and had obtained at concert journeys of successes, to Vienna, and gave on 2. 4. the 1791 in <span class="systran_nfw_source" id="nfw_569">k.k</span>.</span> <span class="systran_seg" id="seg_249">National theater „on a <span class="systran_nfw_transfer" id="nfw_570">Harmonika</span> " <sup>12 a</sup> concert invented again by it.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_250">The interest of the Viennese of public was thus already excited and besides went the blind <span class="systran_nfw_source" id="nfw_571">Virtuosin</span>, which from Munich coming, perhaps into Salzburg, surely however in <span class="systran_nfw_source" id="nfw_572">Linz</span> in the theaters <span class="systran_nfw_source" id="nfw_573">konzertiert13</span> and an inspired, into the Viennese newspaper printed criticism received <span class="systran_nfw_source" id="nfw_574">hatte14</span>, their unparalleled technology and the completely new and surprising effect of the <span class="systran_nfw_source" id="nfw_575">Glasharmonika</span> praised itself and thereby on an article Christian F.D. thrust kind in „the native country chronicle " <span class="systran_nfw_source" id="nfw_576">Jg</span>.</span> <span class="systran_seg" id="seg_251">1790/91 number 15 appointed, an important call ahead.</span> <span class="systran_seg" id="seg_252">But also the holding of their first concert speaks on 10 June 1791 in the castle theater, thus one most distinguished concert restaurants, which were to a <span class="systran_nfw_source" id="nfw_577">Virtuosen</span> at that time at the disposal.</span> <span class="systran_seg" id="seg_253">Since neither a concert criticism still another program received <span class="systran_nfw_source" id="nfw_578">hat15</span>, we know ourselves not, the <span class="systran_nfw_source" id="nfw_579">Kirchgessner</span> spoke which pieces at that time.</span> <span class="systran_seg" id="seg_254">Probably Mozart, who must have heard the artist with a private concert - an occurrence with yard is not testified and in the time of the preparations for the emperor coronation/culmination <span class="systran_nfw_source" id="nfw_580">Leopold</span> IL also improbably -, under that had probably composed impression of its <span class="systran_nfw_source" id="nfw_581">phänomenalen Könnens</span> on their request for it the wonderful <span class="systran_nfw_source" id="nfw_582">Quintett KV</span> 617, that after its „listing of all of my works " to 23.</span> <span class="systran_seg" id="seg_255">May was written or completed nevertheless.</span> <span class="systran_seg" id="seg_256">But the blind one has the work intended for it not already at its first academy, but only with second, to 19. 8.</span> 1791 <span class="systran_seg" id="seg_258">perhaps in the <span class="systran_nfw_source" id="nfw_583">Kärntnertontheater</span>, <span class="systran_nfw_source" id="nfw_584">uraufgeführt.16</span> took place was too short the time to the study or the material coped not in time.</span> <span class="systran_seg" id="seg_259">Whether it at least the short <span class="systran_nfw_source" id="nfw_585">Adagio KV</span> 356 (again <span class="systran_nfw_source" id="nfw_586">KV</span> 617a), which probably at the same time as addition (<span class="systran_nfw_source" id="nfw_587">Encore</span>) developed, already to 10. 6. played, cannot be determined.</span> <span class="systran_seg" id="seg_260">The <span class="systran_nfw_source" id="nfw_588">Kirchgessner</span> had a substantial repertoire, mainly <span class="systran_nfw_source" id="nfw_589">Solostücke17</span> and chamber music works for <span class="systran_nfw_source" id="nfw_590">Glasharmonika</span> and several instruments, composed by works of its compatriot <span class="systran_nfw_source" id="nfw_591">Johann</span> squirrel, in addition, its teacher <span class="systran_nfw_source" id="nfw_592">Joseph Alois Schmittbauer</span> for it, and might, as arranged their program from such works with its <span class="systran_nfw_source" id="nfw_593">Linzer</span> concert so also at the first Viennese academy.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_261">From an undated, but long on 11 June 1791 certain letter to the Mozarts from Vienna to at that time in bathing to the cure stay because-end <span class="systran_nfw_source" id="nfw_594">Konstanze18</span> can be inferred that the <span class="systran_nfw_source" id="nfw_595">Kirchgessner</span> had originally already planned a second academy for Monday, 13 June 1791.</span> <span class="systran_seg" id="seg_262">For unknown reasons this concert had to be shifted however and could only two months later, on 19 August in the <span class="systran_nfw_source" id="nfw_596">Kärntnerthortheater stattfinden.19</span> at this academy came finally the <span class="systran_nfw_source" id="nfw_597">Glasharmonikaquintett KV</span> 617 to the premiere and seems to immediately lively applause to have found, since it became the most popular piece of repertoire of the artist, it <span class="systran_nfw_source" id="nfw_598">spielte.20</span> the work makes so high demands again and again to the play technology of the interpreter that cook flax stone <span class="systran_nfw_source" id="nfw_599">annimmt21</span> was, it not on the <span class="systran_nfw_source" id="nfw_600">Franklin</span> instrument, which had received the <span class="systran_nfw_source" id="nfw_601">Kirchgessner</span> still as a pupil from the realm baron von <span class="systran_nfw_source" id="nfw_602">Beroldingen</span> to the gift but on notice and movement technique a substantially facilitating palpation (piano) <span class="systran_nfw_transfer" id="nfw_603">Harmonika</span> spoken, there it on from J.A. <span class="systran_nfw_source" id="nfw_604">Schmittbauer</span></span> <span class="systran_seg" id="seg_263">designed and later instrument equipped in London with a resonance soil <span class="systran_nfw_source" id="nfw_605">unspielbar</span> would have been.</span> <span class="systran_seg" id="seg_264">Meanwhile we not at all always know from contemporary, reports which can be understood as praise to implement that the <span class="systran_nfw_source" id="nfw_606">Kirchgessner</span> possessed an eminent technology, which made it for her possible apparently <span class="systran_nfw_source" id="nfw_607">unspielbare</span> places, double grasps, manners, trills and fast runs on the instrument and interpret pieces, which were virtually impracticable faultless for a less good player.</span> <span class="systran_seg" id="seg_265">The criticism accused the <span class="systran_nfw_source" id="nfw_608">Kirchgessner</span> evenly this excessive care of pure <span class="systran_nfw_source" id="nfw_609">Virtuosität</span>, by which it its characteristic gentle sound to the instrument took and to technical <span class="systran_nfw_source" id="nfw_610">Künsteleien gelangte22</span>, which offended against the nature nevertheless particularly of the <span class="systran_nfw_transfer" id="nfw_611">Harmonika</span> intended for calm, <span class="systran_nfw_source" id="nfw_612">akkordlicher</span> and carried sound effect.</span> <span class="systran_seg" id="seg_266">Only in its last <span class="systran_nfw_transfer" id="nfw_613">Lebensjahren</span> it returned to a simpler, <span class="systran_nfw_source" id="nfw_614">unverkünstelten</span> play way.</span> <span class="systran_seg" id="seg_267">Besides <span class="systran_nfw_transfer" id="nfw_615">Gerber</span> says <span class="systran_nfw_source" id="nfw_616">ausdrücklich23</span>, which has blind ones equal its teacher <span class="systran_nfw_source" id="nfw_617">Schmittbauer</span> and the then famous Saxonian <span class="systran_nfw_source" id="nfw_618">Hofkapellmeister</span> and composer J.G. <span class="systran_nfw_source" id="nfw_619">Naumann</span> the palpation (piano), demonstrated invented approximately at the same time in the center of the 80's of several technical designers, publicly and, <span class="systran_nfw_transfer" id="nfw_620">Harmonika</span> because of their by the tangent friction of the glass bowls of conditioned harder and less nuance-rich clay/tone <span class="systran_nfw_source" id="nfw_621">abgeleht</span> and of their does not avail itself.</span> <span class="systran_seg" id="seg_268"><span class="systran_nfw_source" id="nfw_622">Mariane Kirchgessner</span> knew thus obviously at that time already the key instruments of a <span class="systran_nfw_source" id="nfw_623">Hessel</span>, a <span class="systran_nfw_source" id="nfw_624">Nicolai</span>, a <span class="systran_nfw_source" id="nfw_625">Röllig</span> or a <span class="systran_nfw_source" id="nfw_626">Bartl</span> in the trade, held however to first from <span class="systran_nfw_source" id="nfw_627">Schmittbauer</span> by use of <span class="systran_nfw_source" id="nfw_628">Krystallschalen</span> and extension of its extent of g-g " on C-f " and later during their <span class="systran_nfw_source" id="nfw_629">Londoner</span> of stay by mounting of a resonance soil improved <span class="systran_nfw_source" id="nfw_630">Franklin Urform24</span> of the <span class="systran_nfw_source" id="nfw_631">Glasharmonika</span>.</span> <span class="systran_seg" id="seg_269">Since their instruments did not come unfortunately on us, we must be content with these statements.</span> <span class="systran_seg" id="seg_270">To the Mozarts of the <span class="systran_nfw_source" id="nfw_632">Kirchgessner</span> on its art journeys again and again played <span class="systran_nfw_source" id="nfw_633">Werk25</span>, certainly most beautiful and most important that today only more fragmentarily received literature, came at the same time with the <span class="systran_nfw_source" id="nfw_634">Glasharmonika</span> into oblivion.</span> <span class="systran_seg" id="seg_271">The more frequently tried replacement of the original instrument by piano or <span class="systran_nfw_transfer" id="nfw_635">Harmonium</span> is not able the special attraction, the purity, transparency and weightlessness of the <span class="systran_nfw_source" id="nfw_636">Glasharmonikatones</span> to <span class="systran_nfw_source" id="nfw_637">gewährleisten.26</span> only <span class="systran_nfw_source" id="nfw_638">Bruno</span> Hoffmann new glass harp seems an adequate replacement for missing persons the original instrument to <span class="systran_nfw_source" id="nfw_639">bieten.27</span></span></span><o:p></o:p></p></div><br style="PAGE-BREAK-BEFORE: always; mso-break-type: section-break" clear="all"> <div class="Section6">
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_272">At its academy from. the 1791 the <span class="systran_nfw_source" id="nfw_640">Kirchgessner</span> played 19. 8 also „new variations " from January <span class="systran_nfw_source" id="nfw_641">Wanhalls</span> over the <span class="systran_nfw_source" id="nfw_642">Duett</span> (<span class="systran_nfw_source" id="nfw_643">Nel cor piü non mi sento</span>) from <span class="systran_nfw_source" id="nfw_644">Paisiellos</span> since 1790 on the repertoire of the national theater standing successful <span class="systran_nfw_source" id="nfw_645">Buffa</span> „<span class="systran_nfw_source" id="nfw_646">La molinara</span> ". </span><sup><span class="systran_seg" id="seg_273">28</span></sup><span class="systran_seg" id="seg_273"> also of this academy we possess neither notes nor criticism, but must success have been important, since the artist already announces to 3.9.1791 in the Viennese <span class="systran_nfw_source" id="nfw_647">Zeitung29</span> that she, this time in the hall of the <span class="systran_nfw_source" id="nfw_648">Hoftraiteurs Jahn</span> in the <span class="systran_nfw_source" id="nfw_649">Himmelpfortgasse</span>, will give 8.9.1791 at the concert.</span> <span class="systran_seg" id="seg_274">It justifies the rapid sequence of two concerts with „the requests many large music connoisseurs to completely exactly hear the <span class="systran_nfw_transfer" id="nfw_650">Harmonika</span> and its play in the proximity and in a <span class="systran_nfw_source" id="nfw_651">Sal</span> and to learn to know at all this instrument misjudged so far better ".</span> <span class="systran_seg" id="seg_275">That speaks certainly for the success of the academy of 19. 8. </span><span class="systran_seg" id="seg_276">, in addition, for the large interest of the Viennese of music friends in the strange instrument and its <span class="systran_nfw_source" id="nfw_652">Spielerin</span>.</span> <span class="systran_seg" id="seg_277">Probably you would have been left again one of the yard theaters.</span> <span class="systran_seg" id="seg_278">If it for its third concert a more intimate area, which small hall in the <span class="systran_nfw_source" id="nfw_653">Jahn Hause30</span>, today any longer (not existing), selected, which offered an exact observation of the play technology of the speaking made possible and resonance better for the at that time still quite sound-weak instrument to the concert visitors, then this resolution was probably justified.</span> <span class="systran_seg" id="seg_279">Probably it played also with this conclusion concert the <span class="systran_nfw_source" id="nfw_654">Quintett KV</span> 617, perhaps also as addition the <span class="systran_nfw_source" id="nfw_655">Adagio KV</span> 617a, pieces in those it their being able into full light to move could do.</span> <span class="systran_seg" id="seg_280">Since also from this concert evening criticism and discussion are missing, we can only assume that them played also <span class="systran_nfw_source" id="nfw_656">Glasharmonikakompositionen</span> of other masters such as <span class="systran_nfw_source" id="nfw_657">Schlett</span>, squirrel, <span class="systran_nfw_source" id="nfw_658">Wanhall</span> or Neumann, since the two pieces are not evening-filling the Mozarts.</span> <span class="systran_seg" id="seg_281">Whether Mozart, in all probability only to 25. 8. or 26.</span> <span class="systran_seg" id="seg_282">8.31 to Prague for preparation that</span> <span class="systran_seg" id="seg_283">„<span class="systran_nfw_source" id="nfw_659">Clemenza</span> those</span> <span class="systran_seg" id="seg_284"><span class="systran_nfw_source" id="nfw_660">Tito</span> “- premiere together with <span class="systran_nfw_source" id="nfw_661">Konstanze</span> and <span class="systran_nfw_source" id="nfw_662">Süssmayr</span> left, at the academy from 19 August still its two <span class="systran_nfw_source" id="nfw_663">Glasharmonikawerke</span> heard, cannot any longer be determined.</span> <span class="systran_seg" id="seg_285">To 8. 9. it already stayed in Prague, from where it returned only in the middle of Septembers to Vienna.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_286">The assumption O.E. <span class="systran_nfw_source" id="nfw_664">Deutschs32</span>, Mozart left later the <span class="systran_nfw_source" id="nfw_665">Quintett</span> to the count <span class="systran_nfw_source" id="nfw_666">Deym</span> for use into its <span class="systran_nfw_source" id="nfw_667">sogenanntene Müller</span> <span class="systran_nfw_transfer" id="nfw_668">Wachsfigurenkabinett</span>, where it was to be heard on a play work „in sleep in accordance with oh the <span class="systran_nfw_source" id="nfw_669">Grazien</span> ", has much probability for itself, there in largest emergency masters present also different compositions, how the <span class="systran_nfw_source" id="nfw_670">Adagio</span> and <span class="systran_nfw_source" id="nfw_671">Allegro</span> for an organ roller (<span class="systran_nfw_source" id="nfw_672">KV</span> 594) had written <span class="systran_nfw_source" id="nfw_673">the f-Moll-</span><span class="systran_nfw_source" id="nfw_674">Fantasie KV</span> 608 in <span class="systran_nfw_source" id="nfw_675">f-</span><span class="systran_nfw_source" id="nfw_676">Moll</span> and the <span class="systran_nfw_source" id="nfw_677">Andante KV</span> 616 in F major for <span class="systran_nfw_source" id="nfw_678">Deym</span>, around little money to <span class="systran_nfw_source" id="nfw_679">verdienen.33</span></span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_287">In the following years the blind one undertook far art travels, which led it to England and then again to pc. Petersburg.</span> <span class="systran_seg" id="seg_288">Before the turn of the century it made together with the friendly married couple <span class="systran_nfw_source" id="nfw_680">Bossler</span> in <span class="systran_nfw_source" id="nfw_681">Gohlis</span> short with Leipzig resident, which left it 1802, in order in Stuttgart <span class="systran_nfw_source" id="nfw_682">to then konzertieren itself</span>.</span> <span class="systran_seg" id="seg_289">Only 1806 undertook it again a concert journey to Vienna.</span> <span class="systran_seg" id="seg_290">Heavy <span class="systran_nfw_source" id="nfw_683">Kriegsgewölk</span> had together-clumped at that time over Central Europe;</span> <span class="systran_seg" id="seg_291">the third coalition war, in August 1805 begun, took an exit unfortunate for Austria and its allied Russia in the battle with <span class="systran_nfw_source" id="nfw_684">Austerlitz</span>, and war confusions defeated originally the travel plans in November 1805 of the artist come arranged after Venice and <span class="systran_nfw_source" id="nfw_685">Neapel</span> over Dresden and Prague to Vienna.</span> <span class="systran_seg" id="seg_292">Could or if it did not want to continue their Italy travel under such circumstances, then it let not take it nevertheless on 1 April 1806, thus few months after by the press citizen peace a certain breathing space in the wars had occurred itself to give in the city, it and that it 1791 become so dear, a concert.</span> <span class="systran_seg" id="seg_293">In one on this day in <span class="systran_nfw_source" id="nfw_686">k.k</span>.</span> <span class="systran_seg" id="seg_294">Castle theater „to the best one theater arms " held <span class="systran_nfw_source" id="nfw_687">Akademie34</span> the their point of main program J. <span class="systran_nfw_source" id="nfw_688">Haydns Oratorium</span> „the seven words of the <span class="systran_nfw_source" id="nfw_689">Erlösers</span> " formed, participated <span class="systran_nfw_source" id="nfw_690">Mariane Kirchgessner</span> with one particularly for it composed solo ones of <span class="systran_nfw_source" id="nfw_691">Anton Reicha</span>.</span> <span class="systran_seg" id="seg_295">It was a <span class="systran_nfw_source" id="nfw_692">Rezitation</span> of the actress <span class="systran_nfw_source" id="nfw_693">Mme</span> rose, which spoke <span class="systran_nfw_source" id="nfw_694">Johannas</span> parting from the homeland from <span class="systran_nfw_source" id="nfw_695">Schillers</span> „virgin of <span class="systran_nfw_source" id="nfw_696">Orleans</span> " with a <span class="systran_nfw_source" id="nfw_697">melodramatischen Begleitmusik</span> for orchestras and <span class="systran_nfw_source" id="nfw_698">Glasharmonika</span>.</span> <span class="systran_seg" id="seg_296">- Me inaccessible - the composition must have been grateful, there the <span class="systran_nfw_source" id="nfw_699">Kirchgessner</span> it also at other places e.g. at an academy in Stuttgart 1808 <span class="systran_nfw_source" id="nfw_700">spielte.35</span> also the popular „<span class="systran_nfw_source" id="nfw_701">Eipeldauer</span> " mentions the Viennese academy and calls the <span class="systran_nfw_source" id="nfw_702">Kirchgessner</span> „a famous <span class="systran_nfw_source" id="nfw_703">Harmonikaspielerin</span> ".</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_297">The theater bill of this concert kept, but no discussion appeared, how that corresponded to the time custom.</span> <span class="systran_seg" id="seg_298">The remark of the <span class="systran_nfw_source" id="nfw_704">ADB</span>, which have <span class="systran_nfw_source" id="nfw_705">Kirchgessner</span> 1806 again the <span class="systran_nfw_source" id="nfw_706">Quintett</span> Mozart <span class="systran_nfw_source" id="nfw_707">KV</span> 617 <span class="systran_nfw_source" id="nfw_708">gespielt36</span>, on a second concert evening would point, since this work in the program does not seem to the charity academy from 1 April.</span> <span class="systran_seg" id="seg_299">Also in <span class="systran_nfw_source" id="nfw_709">ADB</span> of C.F quick. <span class="systran_nfw_source" id="nfw_710">Pohl</span> expressed the criticism to „all too and artificial manners at expense of the true character of the <span class="systran_nfw_transfer" id="nfw_711">harmonika</span> ", which refers to its Viennese occurrence of 1806, far rather on one solo evening as on the modest co-operation at a charity academy would fit.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_300">To Vienna the <span class="systran_nfw_source" id="nfw_712">Kirchgessner</span> did not come any longer, but their name remained unforgotten, like an article in the Viennese most meaning at that time technical periodical, „for the general one musical newspaper out of special consideration for the east.</span> <span class="systran_seg" id="seg_301">Emperor state " of 24. 7.</span> <span class="systran_seg" id="seg_302">, which brings in a series of articles „the excellent faceless <span class="systran_nfw_source" id="nfw_713">Musikvirtuosen</span> to more recent time, an honor monument " their biography, it shows 181737 as „really large <span class="systran_nfw_source" id="nfw_714">Virtuosin</span> " on the <span class="systran_nfw_transfer" id="nfw_715">Harmonika</span> designation, and their attendance in Vienna with their first art journey to Germany - however falsely shifted in the year 1792 or 1793 - states, with which it gave „with large applause a concert ".</span> <span class="systran_seg" id="seg_303">Also the gift of a <span class="systran_nfw_source" id="nfw_716">Glasharmonika</span> becomes express to the blind one by the <span class="systran_nfw_source" id="nfw_717">Frhr</span>.</span> <span class="systran_seg" id="seg_304">(<span class="systran_nfw_source" id="nfw_718">Joseph Anton</span> victory mouth) of <span class="systran_nfw_source" id="nfw_719">Beroldingen</span> mentioned, of which the sheet speaks also in other place in connection with the biography of the blind <span class="systran_nfw_source" id="nfw_720">Harfenvirtuosin Schonz</span>, that it „a people friend, like formerly the <span class="systran_nfw_source" id="nfw_721">Kirchgessner</span> " wishes, it a new pedal harp gives <span class="systran_nfw_source" id="nfw_722">würde.38</span> to that</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="FONT-SIZE: 9pt; mso-ansi-language: DE"><span class="systran_seg" id="seg_305">The question, whether the <span class="systran_nfw_source" id="nfw_723">Kirchgessner</span> would have, it „their life more highly brought ", as the general one musical newspaper not still another third time is expressed to Vienna would have come, is neither to affirm nor answer in the negative.</span> <span class="systran_seg" id="seg_306">Vienna at that time, like today still exercised</span></span><span class="systran_seg" id="seg_306"> <span style="mso-ansi-language: DE">on <span class="systran_nfw_source" id="nfw_724">Virtuosen</span> from all world a nearly magic attraction, and the concert sequence of 1806 could encourage to new art travels.</span></span><o:p></o:p></p>
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<p class="MsoNormal" style="BACKGROUND: white"><span style="mso-ansi-language: DE"><span class="systran_seg" id="seg_307">Meanwhile their premature death made an end for such plans, if they should have really existed, during its last art travel into work living.</span></span><o:p></o:p></p></div></body></html> </option><option name="status">100 </option><option name="warning"></option><option name="xmlflow_step"></option><option name="xmlflow_step_no"></option><option name="format">text/html </option><option name="coptions">FILTER_RTF
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