Jan Ladislav Dussek was a Czech composer and pianist. He was an important representative of Czech music abroad in the second half of the 18th century and . Canzonetta – Jan Ladislav Dussek – Combre – Piano – [Jan Ladislav Dussek] on *FREE* shipping on qualifying offers. – Piano – Combre .

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He was an important representative of Czech music abroad in the second half of the 18th century and the beginning of the 19th century. Some of his more forward-looking piano works have traits often associated with Romanticism. Dussek was one of the first piano virtuosos to travel widely throughout Europe. He performed at courts and concert venues from London to Saint Petersburg to Milanand was celebrated for his canzoneetta prowess.

During a nearly ten-year stay in London, he was instrumental in extending the size of the pianoforteand cnzonetta the recipient of one of John Broadwood ‘s first 6-octave pianos, CC-c4. Harold Schonberg wrote that he was the first pianist to sit at the piano with his profile to the audience, earning him the appellation “le beau visage.

He was one of the best-regarded pianists in Europe before Beethoven’s canzoneta to prominence. His music is marked by lyricism interrupted by sudden dynamic contrasts. Not only did he write prolifically for the piano, he was an important composer for the harp.

His music for that instrument contains a great variety of figuration within a largely diatonic harmony, avoids dangerous chromatic passages and is eminently playable. His concerto writing is exciting. Less well known to the duxsek public than that of his more renowned Classical period contemporaries, his piano music is highly valued by many teachers and not infrequently programmed. In he enrolled in the University of Prague, where he lasted one semester. Rumbold’s cathedral in Mechelen. From Hamburg cxnzonetta moved to St.

Petersburgwhere he was a favorite of Catherine the Great. While there he was introduced to a technician named Hessel, who had developed a keyboard version of the glass harmonicaan instrument Dussek went on to master. Catherine recognized the ring as belonging to a known conspirator, raising her suspicions about Dussek. After Dussek left St. His departure from Lithuania may have been prompted by an affair he was rumored to have with the Prince’s wife, the Princess of Thurn und Taxis. One review of a Berlin concert said, “He obtained great distinction as a pianist, and was little less admired for his playing on the [glass] harmonica In Paris Dussek became a favorite of Marie Antoinettewho tried to dissuade him from going on a performing tour to Milan in Dussek’s trip to Milan was quite successful; his performances “produce[d] quite a sensation”.

During his time in Paris he may have met and played with a violinist by the name of Napoleon Bonaparte. Early biographers have generally claimed that he left because of the impending revolution. Dussek made London his home until By he was well established as a performer and teacher.

He was in such demand that Davison, in an biographic sketch, noted that “he became one of the most fashionable professors of the day, and his lessons were both sought with dussek and remunerated at a rate of payment which knew no precedent except in the instance of John Cramer. Broadwood noted in his business journal for 13th.

Joseph Haydnin a letter to Dussek’s father, February 26, [33].

In the spring ofDussek appeared in a series of concerts, a number of which featured Sophia, the young daughter of music publisher Domenico Corri. In a concert on 15 June that year, the pair played a piano duet together; they were married in September They had a daughter, Oliviabut the marriage was not happy, involving liaisons by both parties.

Some of the concerts in and featured both Dussek and Joseph Haydn ; the older Haydn wrote quite favorably of Dussek in a letter to the latter’s father following one of the concerts.

The other highlights of above and beyond his marriage to Sophia included the beginning of a music publishing venture with Sophia’s father Domenico. This business, while successful at first, fared poorly in later years, and the circumstances of its failure spurred Dussek to leave London inleaving Corri in debtors’ prison. Dussek’s business acumen apparently had little impact on his performing and composing while in London.


Every year, he performed in a series of concerts, at least some of which also featured Sophia, and which frequently featured new works. Some works were so successful they were repeated at later concerts in the series. Of one work, a reviewer wrote in”Dussek’s Military Concerto was repeated.

We think it very deserving of encomium.

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InDussek and his wife began having serious marital troubles. In an account of uncertain veracity, it was reported that Sophia, who had fallen in love with another man, asked Dussek for money to repair her harp.

She then used the money to leave the house, removing her belongings in her harp case, and claiming to have left for dinner with a female friend. A suspicious Dussek went with his father-in-law to the man’s house, where Sophia locked herself in.

She and Dussek argued, and she cursed him, claiming to be pregnant by the other man. Dussek, relenting, promised her freedom to do what she wanted; this led to a reconciliation of sorts. It seems unlikely that Dussek ever saw Sophia and his daughter Olivia after he left London in ; Sophia had to wait until she knew Dussek had died before she could remarry, which she did in Some of Dussek’s compositions included arrangements of operatic and theatrical overtures for piano.

He decided to try his hand at opera in ; the result was The Captive of Spilberg, with a libretto by Prince Hoare. The opera opened at Drury Lane on 14 Novemberand the music was well received, [39] with the European Magazine ‘s critic writing, “the music, by Mr.

Dussek, was such as to intitle him to rank with the first composers of the time. Inthe business venture with Corri, which had never been very successful, ran into financial difficulties. Dussek and Corri managed to convince the librettist Lorenzo Da Ponte to lend them money to cover their debts.

The failure to repay this debt put Corri into Newgate Prison and caused Dussek to flee. Da Ponte believed that Dussek fled to Paris; in fact he returned to Hamburg. The affair ended up bankrupting both Corri and Da Ponte. Dussek then toured Germany, where he became one of the first “glamour” pianists, preceding Franz Liszt.

Together, they sometimes enjoyed what were called “musical orgies. Indespite his earlier affiliation with Marie Antoinette, Dussek returned to Paris in the employ of Talleyrandthe powerful French foreign minister. He wrote a powerful sonata Sonata in A flat major, Op.

Jan Ladislav Dussek – Wikipedia

This imposing sonata also received the nickname Plus Ultra in heated response to a piano sonata by Joseph Woelflsaid to be canzzonetta last word in pianistic difficulties, entitled Non Plus Ultra.

The remainder of his life he spent performing, teaching and composing in Prussia and France. His personal beauty had faded and he became grossly fat, so much so that he had a curve cut into his dining table and was eventually unable to reach the piano keyboard. He also developed a fondness for strong drink which probably hastened his death.

Dussek died on 20 Marchin Dussrk. Dussek was a predecessor of the Romantic composers for piano, especially ChopinSchumann and Mendelssohn. However, despite his departure from the mainstream idiom of contemporaries like Haydn and MozartDussek’s stylistic influence over later composers was limited since his works remained highly obscure and largely unknown outside England.

Jan Ladislav Dussek

The evolution of style found in Dussek’s piano writing suggests he pursued an independent line of development, one that anticipated but did not influence early Romanticism. His more notable works include several large-scale solo piano pieces, piano sonatasmany piano concertossonatas for violin and piano, a musical drama, and various works of chamber musicincluding a Trio for piano, horn and violinand the highly unusual sonata for piano, violin, cello and percussion entitled The Naval Battle and Total Defeat of the Dutch by Admiral DuncanCwhich is an extremely rare example of preth-century chamber music that includes percussion.


Dussek was one of a number of foreign-born composers, including Muzio Clementi and John Fieldwho contributed significantly to the development of a distinct “London” school of pianoforte composition. In part, this was due to the particular nature of piano manufacture in England. Joseph Haydn, for instance, composed his famous E-flat sonata after playing a piano of greater range lent to him by Dussek.

The enhanced possibilities offered by the instrument help explain some of his stylistic innovations. Dussek wrote numerous solo piano works, including 34 Piano Sonatas as well as a number of programmatic compositions.

His The Sufferings of the Queen of France composed inC 98for example, is an episodic account of Marie Antoinette with interpolated texts relating to the Queen’s misfortunes, including her sorrow at being separated from duswek children and canzonehta final moments on the scaffold before the guillotine. Along with Clementi, Dussek may have been a source of stylistic inspiration and influence for Beethovenwhose expansion upon the idiomatic innovations of the London school led to their rapid penumbration with the appearance of Beethoven’s own keyboard works.

It is also possible that Dussek’s influence can be seen in Beethoven’s famous Sonata Opus 81a, les Adieux: Dussek composed a number of piano concertos between andeighteen of which survive. Dussek introduced one noteworthy stylistic innovation to the piano concerto form. In variance with the prevailing classical concerto style, exemplified by Mozart’s piano concertos, Dussek eliminated the soloist cadenza in the opening movement in all of his concertos written after His Concerto in C major, Op.

His last surviving work in the genre, Opus 70 in E-flat major, was one of the first to lengthen substantially the opening movement: Apart from his own music, Dussek is important in the history of music because of his friendship with John Broadwood, the developer of canzonstta “English Action” piano. Because his own music demanded strength and range not available in the then current pianos, he pushed Broadwood into several extensions of the range and sonority of the instrument.

It was a Broadwood instrument with Dussek’s improvements that was sent to Beethoven. The vast majority of Dussek’s music involves the piano or harp in some way. He wrote 35 sonatas for piano and 11 for piano duet, as well as numerous other works for both configurations.

His chamber music output includes 65 violin sonatas, 24 piano or harp trios, and a variety of dissek for harp, harp or piano, or harp and piano.

Some sonatas had trio parts added by J. Orchestral works were limited to concertos, including 16 for piano one of them had lost and two of them are remained dubious attributionsix for harp three of them lostand one for two pianos.

He wrote a modest number of vocal works, include 12 songs, a cantata, a mass, and one opera, The Captive of Spilberg. His compositions also included arrangements of other works, especially opera overtures, for piano. Cataloging Dussek’s compositions has a history of its own. Dussek’s oeuvre has historically been difficult to organize, due in part to the number of canzpnetta who originally published his work, and to the fact that some of his works were published by more than one publisher.

Some works published by multiple publishers were assigned different opus numbers ; sometimes different works were given then same opus number by different publishers. The Artaria Company published a thematic catalog of his works that is incomplete, [51] prompting Howard Craw to develop a new thematic catalog in Works are numbered in the order they were written prefixed by “C” or “Craw”; works of dubious origin are listed in a separately numbered section prefixed by “Craw D”.

From Wikipedia, the free encyclopedia.