Among those composers contemporary to Mozart and Beethoven, Jan Ladislaus Dussek counts as the most original, imaginative and often extreme. His life, as turbulent and eventful as his music, took him across Europe, from Bohemia to Paris to London, winning along the way a reputation as a dazzling keyboard virtuoso at a time when the piano itself was undergoing rapid evolution. His own music, written to exploit that virtuosity but also to appeal to the expanding market among Europe’s middle-class for domestic music-making, mirrors the temper of his times – not least in his violin sonatas, which Julia Huber and Miriam Altmann have been documenting in this ground-breaking cycle on Brilliant Classics.
Volume 5 of the cycle opens with the Sonatas Op.5 Nos. 1 and 2, which Dussek completed in 1788 and dedicated to the aristocratic French pianist Hélène de Montgéroult, who went on to survive the Revolution and become the first female teacher of piano at the Paris Conservatoire. Her own compositions are now belatedly winning justified admiration, and their originality may owe something to Dussek’s example. These sonatas do not follow the convention for the time of compliant violin writing as an accompaniment to flashy keyboard fireworks: rather they are composed with the two instruments as equals: a balance which can be appreciated all the more satisfyingly when played, as here, on the instruments of Dussek’s own time.
While dating from two years later, published in 1790, the Op.12 sonatas are less ambitious in scale: two movements each, and dedicated to one of Dussek’s wealthy patrons in London, Maria Cosway. The B-flat major Sonata Op.12 No.2 is particularly appealing with its variation set on “God Save the King”, which Beethoven would soon treat as the subject for piano variations with similarly shrewd commercial motives in mind. Anyone following the series will be eager to collect the latest volume, but newcomers to the fascinating world of Dussek can start here, secure in the expectation of rich entertainment.
