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| ORIGINAL WORKS: SOLO CONCERTS | |  |
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Jan Ladislav Dussek
(1760-1812)
Concert for Piano and Orchestra
F maj, op. 14
edited by Richard Fuller
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This pocket score has a
yellow cover
with black print. |
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| size of the pocket score: | 22,4 x 16,6 cm |
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| all trade prices without tax! |
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| price of the pocket score: | No.04P/514 | EUR 16,86 |
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| From this work, we did'nt make the performing material! |
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| price of the full size score: | No.04D/514 | EUR 26,16 |
| (size: A4, 29,7 x 21cm, 49 pages, spiral binding) |
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| If you are interested in the complete performance material of this work, please contact us. |
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Dussek's piano concerto in F major, Op.14 was most likely composed in Paris prior to the revolution in 1789. It is an unusual transitional work somewhat between the early classic (pre-Mozart) and the later more brilliant style of the mature classical period. The instrumentation with 2 oboes and 2 horns is - in comparison to those concertos with just 2 violins and bass of the 1760s and 1770s - classically complete; the viola, however, does not play during the piano solo passages. Dussek's Parisian contemporary, the Alsation lawyer and pianist Jean-Frederic Edelmann - as merely one example - chose also not to include the viola at all in the orchestra of the period, ostensibly due to the somewhat "coarse" tone of this instrument which at that time was not to the taste of the Paris audiences (Daffner, 1906).
Dussek's concerto was published several times in France (though following his hasty retreat from France to England) and may already have been wellknown to the younger generation of French pianists, as the formal similarity between the Rondo of the present work and the Rondo of Hyacinthe Jadin's d-minor concerto clearly suggests (Fuller, 1998).
The orchestral Tutti of the first movement display a north German influence somewhat in the vein of C.P.E. Bach. The solo entrance of the piano is - corresponding to the main key of the work - in pastoral character; immediately follows a brilliant passage in triplets and parallel thirds which is further developed following a brief Tutti interruption. The keyboard style - replete with parallel thirds and trills, chromatic scales, together with a somewhat subservient orchestral accompaniment - places the virtuoso clearly in the foreground. In spite of this, however, no solo cadenza is intended in the first movment.
The second movement is a lyrical Adagio and forms a strong contrast to the previous movement. Only in this movement is the opportunity given for an improvised cadenza - probably most preferably in the prevailing lyrical style of the movement.
The final Rondo is a joyful dance movement in familiar concert-rondo form with a recurring thematic refrain. Here the character is also very brilliant, with extensive passage work in 16th note triplets. Again, the composer provides no opportunity for a cadenza and the movement concludes with the familiar main theme.
Dussek's F Major concerto Op.14, stands at the beginning of a series of piano concertos written during his London years in which his style reached maturity. It can be assumed that the influence of Haydn and especially that of Mozart - particularly the piano concertos - contributed to Dussek's development of the genre. At the same time, Dussek's piano concertos of the London years no doubt influenced not only Clementi's only existing concerto opus of 1796, but probably were in all probability wellknown to the young Beethoven.
Except for the original part editions, no other part and score editions have been published for more than two centuries.
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Dr. Heinz Anderle is the scientific adviser of the music publisher Wolfgang Kiess. He is the promotor of the present series of works.
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| Piano Concert, F maj, Allegro, score | |  |
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