 |
 |
| ORIGINAL WORKS: SOLO CONCERTS | |  |
 |
|
| pocket score | | |
 |
|
| performing material | | |
|
|
| description | | | |
|
| music example | | | |
 |
Jan Ladislav Dussek
(1760-1812)
Concert for Piano and Orchestra
g min, op. 50
edited by Richard Fuller
|  | |
This pocket score has a
yellow cover
with black print. |
 |
| size of the pocket score: | 22,4 x 16,6 cm |
|
| all trade prices without tax! |
| |
| | | |
| price of the pocket score: | No.04P/525 | EUR 14,53 |
| | | |
| From this work we have made the complete performing material! |
| |
| price of the full size score: | No.04D/525 | EUR 29,07 |
| (size: A4, 29,7 x 21cm, 86 pages, spiral binding) |
| |
| You can only buy the full size score by lending the complete performing material. |
| |
| lending fee for the orchestra material: |
| | 1 performance | EUR 365,- |
| | 2 performances | EUR 485,- |
| |
| These prices are meant for an audience till 300 visitors. If you expect more than this, please calculate with the fee for two performances! |
| |
| One further full size score is inclusive the lending fee! |
| |
| For further information please contact us! |
| |
|
The piano concert in g min op. 49/50 was probably composed in Germany, after Dussek's departure from England, between 1799 and - at the latest - 1801. The first printed edition by Érard in Paris appeared in 1801 as op. 49. The London edition of op. 49 by Clementi & Co. as well as the (revised) Leipzig edition by Breitkopf & Härtel appearing as op. 50 followed in 1803. B. & H. announced its publication in the Intelligenzblatt zur Allgemeinen Musikalischen Zeitung of November 16, 1803. Perfomances on February 2, 1802 in Hamburg and on November 18, 1802 in Leipzig were met with favorable praise; the composer seems to have played the work regularly in his concerts from 1801 on.
Dussek's colleague G.B. Viotti (1755 - 1824), who, like him, had also gone to England in 1792 (and with whom Dussek also appeared in concert) had already composed a piano concerto in g min (1791 - 1794) which was intended to be played on either the older or newer fortepianos (with "extra" keys); Mozart's c minor piano concert had also just appeared in print (parts only) for the first time around 1801 by André. Possibly this was enough encouragement for Dussek to compose a concert in minor for himself. All speculation aside, the result is a completely successful concert for piano and orchestra characterized by a unity and consistency rarely encountered. It can unreservedly be said that the work represents - in its expressive content and in the in the development of the genre - a milestone in the transition from late classical style toward that of the Romantic era.
Compared to Beethoven's c min piano concert op. 37 composed in the "academic" (gelehrt) manner at the same time, the Dussek g min concerto is "con foco ed anima" of a more open pathos, more expressive, more extrovert, more compact and gives the impression of a uniform piece.
The first movement is a broadly-conceived Allegro (3/4, 626 measures), which - typical for the key of g min - is characterized by brooding and passionate melancholy. The orchestral introduction is with 113 measures of symphonic proportions, the piano making it's first appearance ff at bar 114; the extended development of 127 measures begins with the solo piano in measure 339 and, with mounting tension, reaches an initial culmination at bar 431. A seeming decrease is followed by yet another build-up which does not reach it's actual climax until bar 443, where the fp/tutti entrance releases the tension of the entire movement.
The second movement (2/4, 117 measures) in Eb maj, the key of love and ardent devotion, is in three-part song form in which the first solo entrance of the piano is somewhat reminiscent of the composer's own Canzonette op. 52/Nr. 1 (Craw 200). The course of the movement - especially in the middle section - is interrupted by a passionate outburst.
Dussek's decided preference for folk-melody and rhythms can be heard in the third movement Rondo (2/4, 460 measures). The entire rondo is colored by the persistent appearance of a rhythmic pattern and phrase structure peculiar to certain dances of Dussek's homeland, Bohemia. The movement drones to a close in minor, thus avoiding the "lieto fine", the "happy end" usual in concerti of the classical period.
For all his love of brilliant pianism, there are no cadenzas in Dussek's concerto (Beethoven would wait another seven years - until composing his 5th piano concerto in Eb maj, op. 73 - before deciding to forego cadenzas).
A strong-sounding fortepiano and a large orchestra are necessary to project the grandeur, pathos and brilliance of Dussek's unjustly forgotten masterpiece.
|
| |
|
 |
|
Dr. Heinz Anderle is the scientific adviser of the music publisher Wolfgang Kiess. He is the promotor of the present series of works.
|
| |
| Piano Concert, g min, Allegro, score | |  |
|
