I’ve been playing Dussek since I was a schoolboy. The development of his style from its Mozartian beginnings is fascinating, and related to his connection with the English piano maker, John Broadwood, whose pianos (to whose design Dussek contributed) had a greater range, and were far more powerful and resonant, than anything else currently available-though when he composed Op.64 he was back in France and playing an Ėrard. His wonderful concerto for two pianos in B-flat, Op.63 (1805-6) is a good example of the power and energy of his playing. Beethoven knew his work, and imitated it, and I’ve thought that the thematic trills in the opening subject of the Brahms 1st concerto owe something to Dussek’s trilling in Op.63. Dussek’s not easy to play, but well worth the effort, and Markus Becker’s approach to Op.64 (much the best I’ve heard) is an excellent model.
I have been listening to classical music for 10 years now almost, I have never heard of this composer. I can not believe it, what a marvelous piece, I mean this is as good as a Beethoven sonata, but nobody knows this composer's name. It is so weird.
@@salvatoregiordano4202 Much more interesting. His music has much more variety than German or Austrian composers. What's interesting here is that his figuration is very similar to his harp music, which it usually is not, for piano, and it is not a great deal more chromatic, as in other piano pieces.
Dussek was perhaps the most famous composer of his time, a fine representative of the Prague School, perhaps its classical peak. He was a rival of Beethoven's. He also studied and composed a large body of music for harp. He moved to London later in life and simplified and clarified his style. Tia DeNora wrote an important book on Dussek and Beethoven.
He was indeed a famous composer and a brilliant pianist as well, but he wasn't "the most famous composer of his time". With giants like Rameau and Beethoven as his contemporaries, it's not likely that he ever had a chance to receive that badge of honor, despite his fame and popularity. He certainly is criminally underrated as a composer today!
Joseph Haydn was still alive when this was composed. I would love to hear what he would have thought about that sonata. It really reminds me of late Schubert and early Mendelssohn and Chopin. Also Hummel. I suppose both Virtuosos have influenced each other.
There are quite a few similarities that I notice between this and Schumann's 3rd Piano Sonata, and much like his, this sonata took me a few listens before I started to really get into it. It has now become one of my favorite (if not my favorite) of Dussek's Sonatas.
Lovely playing, great shape and sound. I also very much enjoy Christine Croshaw's performance of this sonata, featured on an engaging recording of his chamber music.
The father of Romanticism? I thought Hummel and Weber were the direct links to Chopin and Schumann. Dussek is certainly more poetic than Hummel and much more tasteful. What a spectacular composition!
This seems to reveal, how great a pianist, he actually was. If you could give concerts in Germany, London and at the russian court, you would be far better than mediocre!
Comienzo muy elegante, recuerda mucho a Schubert y a Beethoven. Seguro que hubo algunas influencias. Yo sólo conocía a este autor por sus sonatas para niños y mucha gente ni eso. Pasa lo mismo que con Clementi. Cuando conoces sus sonatas "adultas" te sorprende el olvido al que han sido sometidos, barridos por Beethoven y Mozart respectivamente. Es injusto el desprecio a grandes músicos, con ideas musicales a la altura de los "genios alemanes". ¿Ha habido quizás algún interés musicológico por ensalzar lo "alemán y austriaco" frente a otras nacionalidades? No creo que Dussek ni Clementi fuesen unos músicos "mediocres" o "de segunda", como se han mostrado hasta ahora. Debe haber una revisión musicólogica de estos autores menospreciados ya...
@@nonenoneonenonenone It's easier for harpists since it's a different movement. Also, you do not always need to make it artificially even all the time. It's good, but some styles would require you to play differently. In any case, their arpeggios are fine, it's not as if you can't appreciate the music anymore.
![[Friedrich Gulda] Concerto for Myself, Sonata Concertante for Piano and Orchestra (Score-Video)](/img/1.gif)
I’ve been playing Dussek since I was a schoolboy. The development of his style from its Mozartian beginnings is fascinating, and related to his connection with the English piano maker, John Broadwood, whose pianos (to whose design Dussek contributed) had a greater range, and were far more powerful and resonant, than anything else currently available-though when he composed Op.64 he was back in France and playing an Ėrard. His wonderful concerto for two pianos in B-flat, Op.63 (1805-6) is a good example of the power and energy of his playing. Beethoven knew his work, and imitated it, and I’ve thought that the thematic trills in the opening subject of the Brahms 1st concerto owe something to Dussek’s trilling in Op.63. Dussek’s not easy to play, but well worth the effort, and Markus Becker’s approach to Op.64 (much the best I’ve heard) is an excellent model.
Thank you for that information. I love Dussek's music, especially Ops. 44, 61, 64/70, and 77. His Messe Solemnelle in G major is wonderful as well.
I have been listening to classical music for 10 years now almost, I have never heard of this composer. I can not believe it, what a marvelous piece, I mean this is as good as a Beethoven sonata, but nobody knows this composer's name. It is so weird.
This particular sonata is especially adventurous and also my favorite one!
his sonatas op 10 are at the level of mozart
maybe it is his only good one
He is very well-known in the USA if only for his sonatinas in many a collection of classical pieces for young pianists, along with Kuhlau.
@@salvatoregiordano4202 Much more interesting. His music has much more variety than German or Austrian composers. What's interesting here is that his figuration is very similar to his harp music, which it usually is not, for piano, and it is not a great deal more chromatic, as in other piano pieces.
Dussek was perhaps the most famous composer of his time, a fine representative of the Prague School, perhaps its classical peak. He was a rival of Beethoven's. He also studied and composed a large body of music for harp. He moved to London later in life and simplified and clarified his style. Tia DeNora wrote an important book on Dussek and Beethoven.
Whoever put up this score, it is not a good one, the ornamentation is incorrect.
Musica Bohemica editions are bad that way.
He was indeed a famous composer and a brilliant pianist as well, but he wasn't "the most famous composer of his time". With giants like Rameau and Beethoven as his contemporaries, it's not likely that he ever had a chance to receive that badge of honor, despite his fame and popularity. He certainly is criminally underrated as a composer today!
@@nonenoneonenonenone Could also just be the performer who decided to do different ornamentation
I think Markus Becker gave a very fine performance of this fairly technical sonata !
This was composed 1807! Pretty ahead of his time this guy was... - Imho, this is not less "romantic" than Schubert's works.
Every composer is of his time. The idea of progress applied to music is a colossal lie.
Schubert is classical.
@@nonenoneonenonenone then the romantics fell from the sky
Joseph Haydn was still alive when this was composed. I would love to hear what he would have thought about that sonata.
It really reminds me of late Schubert and early Mendelssohn and Chopin. Also Hummel. I suppose both Virtuosos have influenced each other.
A marvellous and original composer, whose music, at its best, looks way into the future.
Este Dussek é extraordinário. Surpreende sempre.
There are quite a few similarities that I notice between this and Schumann's 3rd Piano Sonata, and much like his, this sonata took me a few listens before I started to really get into it. It has now become one of my favorite (if not my favorite) of Dussek's Sonatas.
I was completely unaware of this composer before but this is fantastic. Thanks for sharing!
Lovely playing, great shape and sound. I also very much enjoy Christine Croshaw's performance of this sonata, featured on an engaging recording of his chamber music.
Very nice 👍 interesting harmonic shifts
He loved the rolled chords.
Though almost everyone cites the similarities to Beethoven, there's no doubt Schubert drew some influence from Dussek's oeuvre.
The father of Romanticism? I thought Hummel and Weber were the direct links to Chopin and Schumann. Dussek is certainly more poetic than Hummel and much more tasteful. What a spectacular composition!
This seems to reveal, how great a pianist, he actually was. If you could give concerts in Germany, London and at the russian court, you would be far better than mediocre!
Comienzo muy elegante, recuerda mucho a Schubert y a Beethoven. Seguro que hubo algunas influencias. Yo sólo conocía a este autor por sus sonatas para niños y mucha gente ni eso. Pasa lo mismo que con Clementi. Cuando conoces sus sonatas "adultas" te sorprende el olvido al que han sido sometidos, barridos por Beethoven y Mozart respectivamente. Es injusto el desprecio a grandes músicos, con ideas musicales a la altura de los "genios alemanes". ¿Ha habido quizás algún interés musicológico por ensalzar lo "alemán y austriaco" frente a otras nacionalidades? No creo que Dussek ni Clementi fuesen unos músicos "mediocres" o "de segunda", como se han mostrado hasta ahora. Debe haber una revisión musicólogica de estos autores menospreciados ya...
"Ritorno a Parigi" ...che culo!
I wonder, why he has been called "one of the lesser spirits" . He is absolutely not! He was a romantic before romanticism became "it".
And romantic music is lesser.
Pianists need to learn how to break and arpeggiate chords from harpists, they never do it well enough.
What do harpists do that pianists doesn't?
@@AEPMUSlC They do it much better. Evenly, rhythmically.
@@nonenoneonenonenone It's easier for harpists since it's a different movement.
Also, you do not always need to make it artificially even all the time. It's good, but some styles would require you to play differently.
In any case, their arpeggios are fine, it's not as if you can't appreciate the music anymore.
Boring. Just a bunch of unrelated ideas thrown together. Zero continuity.......
That's inane.
Another insignificant snob comment
In what way is this just a bunch of unrelated ideas thrown together? I mean, what specifically doesn't fit in?
It's all very cohesive. . .
true. people do not understand the value of coherency in music.