Johann Ladislaus Dussek

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Johann Ladislaus Dussek on an engraving by Wilhelm Arndt, ca.1800

Johann Ladislaus Dussek , also Johann Ludwig Dussek ; Czech : Jan Ladislav Dussek ; French : Jean Louis Dussek ; original Bohemian spelling: Dussik ; Newer Czech: Dusík (born February 12, 1760 in Čáslav in the Central Bohemia region , † March 20, 1812 in Saint-Germain-en-Laye near Paris ) was a Bohemian pianist and composer . Dussek is the composer's own spelling and the normal form in German and English-language specialist literature; the entry in the baptismal register is Wenceslaus Joannes Dussik .

Johann Ladislaus Dussek is not identical or related to the Bohemian pianist and composer Franz Xaver Duschk (Czech: František Xaver Dušek ).

Family and early years

Johann Ladislaus Dussek was the first-born son of the music teacher Johann (Jan) Josef Dusík (* 1738 in Mlazowitz (Mlazovice) near Neupaka, † 1818 in Tschaslau) and the harpist Veronika, née Štěvetová (1735-1807). His father was the choir director and organist in Tschaslau until 1808. One of Johann Ladislaus Dussek's uncle was Wenzel Georg Dussek (Dusik) (1751-1815), organist in Olomouc, cantor in Großbirtesch and Mohelno, whose descendants were well-known organists in the Brno area in Moravia . His aunt Katharina Viktoria (* 1769 in Tschaslau, † 1833 in London), married Cianchettini, gave concerts as a singer, pianist and harpist.

Johann Ladislaus received his musical education as a choirboy of the Minorite Church in Iglau in Moravia and attended the Jesuit seminars in Čáslav and mostly in Kuttenberg . From 1776 to 1778 he attended the Neustädter Gymnasium - the same as Gustav Mahler around a hundred years later - and then studied theology and philosophy for one semester at the Charles University in Prague . In Kuttenberg he got his first job as an organist and became a piano teacher for the governor's children. From here he went to Mechelen , where a public concert can be documented for December 16, 1779. On further concert tours to Amsterdam and The Hague , his pianist received enthusiastic applause. At this time the first works suitable for lectures and publications were created, including a. a first piano concerto in B flat major (C. 1), the composition of which is documented around 1779, but which is now considered lost. The composition of the three piano concertos ( C major , E major , G major ) op. 1 No. 1–3 (C. 2-4) also fell during this period ; the works were available for publication in 1783.

Concert tours in Europe

Carl Philipp Emanuel Bach

Dussek possibly met Carl Philipp Emanuel Bach in Hamburg in 1782/83 . During this period he appeared as a pianist and composer in Berlin and other surrounding cities with great success, both on the pianoforte and on the glass harmonica .

Ernst Ludwig Gerber (1746–1819) reports on a concert visit from that time in his historical-biographical lexicon: “I still remember with pleasure that 1783 in Cassel I witnessed the extraordinary skill, precision and speed of both hands of this great artist on the pianoforte and his learned and insightful playing on the piano accordion. "

In the same year Dussek played in St. Petersburg in front of Catherine the Great . However, he had to flee Russia as he was accused of participating in a planned attack on the Tsarina. He then got a job as Kapellmeister of Prince Karol Stanisław Radziwiłł (1734–1790) for two years at his castle in Njaswisch , where the Prince maintained an orchestra and opera ensemble. Dussek entered into a secret liaison with the wife of Radziwiłł's brother, Hieronim Wincenty Radziwiłł , Princess Sophie Friederike von Thurn und Taxis . On January 17, 1784, she and Dussek fled across the Prussian border to Tilsit . Karol Stanisław Radziwiłł reported on this in a letter on January 25th. From there they traveled on to Hamburg , from where the princess went alone to Regensburg to see her family and was reconciled with her husband.

Dussek moved to Paris around 1786 after having successfully given concerts in several German cities during the previous two years. From 1786 to 1789 he worked as a pianist, composer and teacher in Paris, where he was a friend of the French royal couple and many other French personalities. He also frequented the salon of Pierre-Augustin Caron de Beaumarchais . Only once did he visit his brother Franz Josef Dussek (* 1765 in Tschaslau, died after 1816 in Sittich in Krain / Yugoslavia), including répétiteur and 1798 military bandmaster in Venice . In 1788 he went on a concert tour through several cities in Italy , a. a. to Milan . The rumor became known that Marie Antoinette had tried all possible means to keep him from this concert tour.

Stay in London

Henri-Pierre Danloux : Johann Ladislaus Dussek at the piano (1795)

In 1789, before the outbreak of the French Revolution, Dussek moved to the British capital London , which at the time was considered one of the up-and-coming music centers in Europe . Dussek lived in London for over a decade. His first documented concert as a pianist, at which he also performed his own compositions, took place on June 1, 1789 in the Hanover Square Rooms . He received great applause and set the course for his further career. He appeared in concerts by the impresario Johann Peter Salomon (1791 and 1794), through whom he also got to know Joseph Haydn , with whom he also performed. Haydn was the only Viennese master who ever had contact with Dussek. There was obviously a friendly relationship between the two, because later the old master praised Dussek in a letter to his father as "the most upright man of decency, culture and, in the field of music, the most excellent of all".

During these years Dussek rose to become an extremely successful pianist. His concerts must have left a deep impression on the audience, despite the competition from Haydn, Ignaz Josef Pleyel and Muzio Clementi , which should not be underestimated . Dussek developed a friendly relationship with these men, especially with Clementi; he dedicated his Piano Sonata op. 10 No. 1 (C. 60) in A major to him . He achieved particular success with his pianistic textbook " Instructions on the Art of Playing the Piano Forte or the Harpsichord " (Corri, Dussek Co., London, 1796), which was soon translated into French and German ( Méthode pour le piano forte (Paris, chez Mad. Duban) and Pianoforteschule (Leipzig, Breitkopf & Härtel)). His successes also aroused some trust among relatives. His sister Veronika (1769–1833) visited him, for example. B. during his time in London. She never returned home because she married an English music dealer and was able to lead a secure life in the British capital.

In 1792 he married the successful singer, pianist and harpist Sophia Corri (1775-1831), who had previously also been his student after he had divorced his first wife Anne-Marie Krumpholtz (1755-1824). Anne-Marie had previously left her husband Jean-Baptiste Krumpholz for Dussek.

With his father-in-law Domenico Corri (1746–1825), he ran the music publishing and music business Corri, Dussek & co from 1794 , which Corri had managed alone since 1779 in Edinburgh and since 1790 in London. With the English piano manufacturer John Broadwood he built both a business and a friendly relationship. It was he who prompted the piano maker between 1789 and 1794 to expand the key range of the Broadwood instrument keyboard from 5 to 5½, then to 6 octaves, and to emphasize greater robustness. Ludwig van Beethoven , who had received it as a gift from Broadwood , later owned a grand piano in this way from 1817. In the field of composition, the ability to innovate did: while the piano sonatas to be occupied before a very strong position, Dussek made his first experiences with the stage: He composed his only drama The Captive of Spilberg (C. 155) and overtures to Michael Kelly's Feudal Times and Pizarro (c. 159 and 173). He also composed eight of his seventeen piano concertos here (works C. 53 and 129 can also be played as harp concertos ). His 10-part programmatic cycle The Sufferings of the Queen of France , which addresses Marie Antoinette's ordeal shortly before her execution (C. 98) , also deserves great attention .

But around 1799 marked a turning point in Dussek's life. While his daughter Olivia Francisca was born in 1799, bankruptcy threatened the existence of the Corri and Dussek families. The marriage of the two musicians was also no longer a happy one, both spouses had different relationships on the side. After the publisher's final bankruptcy, Dussek left London for Hamburg for fear of the judiciary , and his father-in-law was arrested. The loss of his family, but also his adopted home England and London and the London audience, took the composer hard. There was still an exchange of letters between Dussek and his wife for some time, but this too broke off over the years. Like his daughter and father-in-law, he never saw her again.

Relationship with Prince Louis Ferdinand of Prussia

Prince Louis Ferdinand of Prussia, portrait by Jean-Laurent Mosnier , 1799

After fleeing to Hamburg, Dussek met Louis Ferdinand of Prussia at the beginning of February 1800 . The prince himself was an able musician, of whom Beethoven said he did not play royal or princely at all, but like an able piano player. Louis Ferdinand is said to have taken some composition lessons from Dussek, but the prince left Hamburg on February 18th. The contact between the two should have continued, because in 1803 Dussek dedicated his piano quartet in E flat major (C. 197) to the prince . In 1804 Louis Ferdinand had him come to Berlin. At this time he had already written his first compositions; at the first performance of his piano quintet Op. 1 Dussek played the piano part. In May Louis Ferdinand took him to the garrison town of Magdeburg . From then on until Louis Ferdinand's death, Dussek was a teacher, chamber music partner, bandmaster, partner and also drinking companion of the prince without a fixed contract having been concluded. Thanks to Louis Ferdinand's relationships, Dussek also had access to such prominent personalities as Johann Wolfgang von Goethe and Louis Spohr .

Little is known about the lessons Dussek gave the prince; a mutual influence does not seem to be excluded. There is no doubt that there was a very friendly and familiar relationship between Dussek and the prince; a note from Louis Ferdinand's adjutant Carl Graf von Nostitz, for example:

“[...] and at 6 o'clock table. Here women and the company of lively men awaited us […] Selected dishes and good wine, especially champagne […], quenched hunger and thirst, but the meal […] was lengthened by music and the alternation of cheerful relaxation far beyond the usual measure. There was a piano next to the prince. One turn and he fell into the conversation with tone chords, which Dussek then continued on another instrument. This often resulted in a musical competition between the two, one could call it a musical conversation, which let all the sensations of the soul, stimulated by words, echo more vividly in enchanting tones. "

Dussek, who already had experience in publishing, took over the publication of the prince's works, who had actually only written them for his own use. On October 10, 1806, 4 days before the battle of Jena and Auerstedt, the prince fell as the commander of a Prussian vanguard fighting with Napoleonic troops . Shortly beforehand he is said to have performed Dussek's and his own works on the piano in the camp. With his piano sonata Elégie Harmonique sur la Mort de Son Altesse Royale le Prince Louis Ferdinand de Prusse en Forme de Sonate pour le Piano-Forte in F sharp minor Op. 61, Dussek set up a musical monument to the prince as well as himself.

The last few years

Johann Ladislaus Dussek, around 1810.

After the prince's death, Dussek was employed by the prince of Isenburg for a short time before he moved to Paris again, where he was the conductor of the French minister Charles-Maurice de Talleyrand-Périgord for the last years of his life since 1808 . In a programmatic reference to this return, Dussek composed perhaps his most important piano sonata, “Le Retour à Paris” in A flat major op. 64 (also known as op. 70 and 71 due to later publication by other publishers). Although he caused a sensation as a concert pianist for some time - he now played exclusively on French instruments - the efforts and insults of the last few years gradually became visible. He was probably addicted to alcohol before meeting Prince Louis Ferdinand. Now the resigned composer developed an extreme obesity that made it difficult for him to reach the keys of the piano. Dussek had been plagued by severe depression for many years, but particularly badly after the prince's death, as well as an unusual lack of concern for public and internal affairs. Finally, Johann Ladislaus Dussek (presumably) died of gout on March 20, 1812 in his apartment in St. Germain-en-Laye .


Cover sheet of the Sonata in F sharp minor Elégie harmonique by Dussek

Appreciation as a composer

Johann Ladislaus Dussek did not earn his living by selling his compositions, but through income as a virtuoso and through donations from his patrons. Like Franz Liszt later, he traveled all over Europe. His extensive work (The C. directory according to Howard Allen Craw names 287 + 17 works) can, if one wants to assess its great importance, be reduced to a smaller selection. As a virtuoso he composed mainly for his instrument, alongside solo pieces also piano chamber music and solo concerts; some overtures , an Easter cantata and the string quartets op. 60 belong to the genre of piano-less orchestral or instrumental music. A relatively large part of his solo piano music was designed for quickly learned technique; Works that were quickly written and easy to play. He composed most of these “sonatina-like” sonatas between 1789 and 1799.

Characteristics and meaning of his piano music

Piano music forms the center of his compositional work. In addition to pleasant individual works, mostly variations or piano marches, a collection of “Etudes Mélodiques” op. 16 and the sonatinas op. 20 and some fantasies, it is the piano sonatas that make up the bulk of his work for solo piano. The current catalog raisonné names 31 or 32 piano sonatas, if one considers the individual composition “ La Chasse. Sonate pour le Pianoforte “C.146 included. This list should be followed with caution. The American pianist Frederick Marvin , who recorded selected works for Dorian Discovery in the 1970s , took the Sonata op. 4 No. 3 in F minor, titled “ Sonate pour Pianoforte avec Accompagnement d'un Violon ad libitum ”, with him on his program, similar to Markus Becker , who recorded the violin sonatas op. 9 (which, however, in contrast to the first sonata, actually appeared shortly afterwards as op. 10 without violin part).

What immediately sets his sonatas apart from those of his contemporaries is the formal structure of his works: the majority of his sonatas are in two movements; only three sonatas have four movements. The fact that there are outstanding compositions among the former shows that the smaller number of movements should not be associated with low quality. Here and in the varied combination of the most varied types of movements (e.g. Adagio non troppo - Vivace con spiritio in op. 10/2; Allegro maestoso e moderato in E major - Presto con fuoco in E minor in op. 10/3; Allegro con spirito - Andantino espressivo, ma non troppo (theme and variations) in op. 39/3) is a special attraction of Dussek's piano sonatas, which the interpreter has to approach in concert or recital in a completely different way than with the mostly three- or four-movement sonatas by Joseph Haydn , Wolfgang Amadeus Mozart or Ludwig van Beethoven .

Johann Ladislaus Dussek's sonatas can be relatively clearly divided into three sections, which can be divided into the years up to 1789, 1790 to 1806 and from then until his death. Surprisingly, the most virtuoso and technically demanding pieces are found among the early sonatas , composed between 1786 and 1789, although the greatest successes as a pianist would not occur until the coming years. The novel figures and movements, which are often referred to in connection with Dussek's musical meaning, form the great attraction of these early compositions, which, however, now and then get out of hand into a certain “overload”, so that the relationships between musicality and technical demands are lost (e.g. in the Larghetto of the Piano Sonata in C major op. 9/2). The outstanding sonatas in this section are the two-movement in F minor op. 4/3 or D major op. 9/3 and the three-movement in C major op. 9/2, which are distinguished by their virtuoso figures (octave- , Chains of sixths and thirds, sixteenth-note figures in intervals, octave basses, rhythm-independent runs) as well as their expressiveness (especially in Opus 4) from the already high-quality sonatas. All in all, a reference to Wolfgang Amadeus Mozart and Joseph Haydn can be seen in the sonata movements, and the downright ridiculous rondos in particular are close to the latter.

Taken as a whole, the quality of the middle sonatas is below that of the early and late works. Many of the sonatas are very similar in terms of piano setting, structure and gesture, and some sonatas could also be called sonatinas. Disregarding these simpler compositions, a number of excellent works can be found in this period, with Opus 35 even three of the most popular sonatas of all and with Farewell in E flat major Op.44 also the first of his three sonatas with four movements. A striking difference to the earlier works is the “shifted” technical claim: While the piano setting of the early works is characterized by virtuoso figures and runs, many piano works are now characterized by a quieter, less intrusive tone. Here, in some works, one encounters the polyphonic piano setting for the first time, which is its most striking stylistic feature: The management of a melody in one hand with the eighth or sixteenth note (sometimes above), which often means the repeated use of the fourth and fifth or first and second fingers and the highest musical precision and finger control required. Particularly striking in this context are figures such as in the secondary theme of the Piano Sonata in B flat major, Op. 35/2, in which the melody is carried on triplets. This technique (which Dussek uses excessively in the late piano concertos, among other things) is later found very frequently in the works of Franz Schubert . Mozart's influence remains in some places in the sonatas, although the piano setting is already a lot more voluminous and powerful. The influence of Muzio Clementi can be seen in some of the early works after 1790, but Dussek also leaves him behind at the latest with Opus 35 from 1797.

The five late sonatas , from the Elégie harmonique in F sharp minor op. 61 to the L'invocation in F minor op. 77 are (apart from the sonata in D major op. 69/3) some of Dussek's most important works in their quality in no way inferior to the piano sonatas of other masters of that time. While the Elégie harmonique is a free, almost rhapsodic work, the three sonatas present in A flat major op.64 (written on the occasion of his return to Paris; also as op.71 and 71), E flat major op.75 and F minor op. 77 the typical late Dussek style, which can be found in the last piano concerto in E flat major op. 70 or the Sonata for Four Hands in B flat major op. 74. It is characterized by elegant, almost salon-like brilliance, demanding polyphony (e.g. in the Sonata op.64: an upward spiraling sixteenth line with simultaneously rising quarters in the right hand), unusually dense thematic elaboration and bold harmonies . The proximity to Johann Nepomuk Hummel , Franz Schubert and Carl Maria von Weber , and occasionally also to Frédéric Chopin , Robert Schumann or even Johannes Brahms , cannot be denied to these late works.

Apart from the piano sonatas, the sonatins op. 20 also stand out from his piano oeuvre. Despite their simplicity, these six small compositions (whose well-known piece, the 1st Sonatina in G major , today almost no piano student can avoid) are very popular with students, teachers and pianists, which is mainly due to the immense melodic and figurative ingenuity Has. The sonatinas can occasionally even be placed above some of his weaker piano sonatas without a guilty conscience.

The large number of compositions for harp compared to other composers is also important. Dussek was surrounded by harpists for long periods of his life: his mother was a talented harpist, his wife Sophia Corri, and finally his daughter Olivia (composer of a great sonata for harp solo , which was long ascribed to Dussek). Recently, the Czech Jana Bouskova has recorded all of Dussek's harp compositions with the exception of the harp concertos.

The assumption (mentioned by the composer Václav Jan Křtitel Tomášek , among others ) that Dussek was the first to turn the piano sideways towards the audience, supposedly in order to be able to present his well-formed profile to the ladies, has become legendary . In fact, at around the same time, Louis Spohr introduced the same innovation in his concerts, because he correctly recognized that this way the sound waves can be better emitted in the direction of the audience. Since the two composers may have known each other during the course of their acquaintance with Prince Louis Ferdinand, a mutual exchange of this idea is not far off.

A collection of his compositions, consisting of twelve concerts, a concert symphony for two pianos, a quintet and quartet, numerous trios, sonatas, fantasies and other works, appeared in nine volumes in Leipzig by Breitkopf a. Härtel and Litolff. As a composer and as a virtuoso, Dussek pursued such a dignified direction that he can rightly be counted among the classical representatives of his instrument alongside Muzio Clementi and Johann Baptist Cramer , albeit his works, with the exception of the Andante La consolation , op. 62, and the Méthode nouvelle pour le piano et notamment pour le doiger , published by him jointly with Ignaz Pleyel , was soon forgotten after his death.



  • 3 piano concertos C, Eb, G op. 1 c2–4 (before 1783)
  • Piano concerto E flat op.3 c33 (1787)
  • Concerto for harp / piano and orchestra E-flat op.15 c53, c265 (1789); also as op.26
  • Piano Concerto F op.14 c77 (1791?)
  • Concerto for piano / harp and orchestra F op.17 c78, c266 (around 1792)
  • Piano Concerto B op.22 c97 (1793)
  • Piano Concerto F op.27 c104 (1794)
  • Piano Concerto C op.29 c125 (1795)
  • Concerto for piano / harp and orchestra C op. 30 c129, c267 (1795)
  • Military concert, piano concerto B op. 40 c153 (1798)
  • Concerto for piano / harp and orchestra F c158 (1798?)
  • Piano Concerto g op. 49 c187 (1801); also as op.50
  • Concerto for two pianos and orchestra B op. 63 c206 (1805-06)
  • Piano concerto E flat op.70 c238 (1810)

Chamber music

Sonatas for piano and violin

  • 3 sonatas B, G, C op. 1 c5–7 (1782)
  • 3 sonatas C, F, c op. 2 c14–16 (around 1786)
  • 6 Sonatas C, F, B, C, D, G op. 3 c17-22 (around 1786); also as op. 46
  • 3 sonatas C, B, F op. 1 c27–29 (1787)
  • 3 sonatas F, E flat, f op. 4 c37–39 (1787)
  • 3 sonatas G, B, A flat op. 5 c41–43 (1788)
  • 3 sonatas C, F, A op. 8 c54–56 (around 1789)
  • 3 sonatas B, C, D op. 9 c57–59 (around 1789)
  • 3 sonatas A, g, E op.10 c60–62 (around 1789)
  • 3 sonatas F, B, C op.12 c64–66 (1790)
  • 3 sonatas B, D, G op. 13 c67–69 (1790)
  • 3 sonatas C, G, F op. 14 c71–73 (1791)
  • 3 Sonatas C, F, G op. 16 c74-76 (1791); also as op.17 and op.18
  • 3 sonatas B, A, E flat op. 18 c79–81 (around 1792)
  • Sonata B op. 24 c96 (1793); also as op.23 and op.27
  • 6 sonatas C, F, B, D, g, E flat op. 28 c118–123 (1795)
  • Sonata C op.36 c154 (1798)
  • 3 Sonatas B, G, D op. 69 c240–242 (1811); No. 2

Sonatas for piano and flute or violin

  • 3 Sonatas G, D, C op. 4 c23-25 ​​(around 1786); also as op. 51
  • 6 Sonatinas G, C, F, A, C, E flat op. 19 c88–93 (1793); also as op.20
  • 3 sonatas F, D, G op. 25 c126–128 (1795)

Sonatas for piano and violoncello

  • 3 sonatas C, F, A op. 20/21 c54–56 (around 1789); Arrangement of the violin sonatas op.8

More chamber music

  • 3 sonatas for piano, violin and violoncello C, B, e op. 2 c30–32 (1787)
  • 3 sonatas for piano and flute C, G, E flat op. 7 c50–52 (1789)
  • Sonata for piano, flute and violoncello C op.21 c94 (1793)
  • Duetto for piano / harp and piano F op.26 c102 (around 1794)
  • 3 sonatas for piano, violin / flute and violoncello B, D, C op. 31 c132-134 (around 1795)
  • 3 sonatas for piano, violin and violoncello F, D, B c141–143 (1796); also as op. 24 and op.29
  • 2 sonatas for harp, violin and violoncello E-flat, B op. 34 c147–148 (1797)
  • Sonata for piano, violin and violoncello E-flat op.37 c169 (1799)
  • Duet for piano / harp, piano and 2–3 horns ad lib. It op. 38 c170 (1799); also as op.36
  • Quintet for piano, violin, viola, violoncello and double bass f op. 41 c172 (1799, rev. 1803); also as op.47
  • 3 string quartets G, B, E flat op. 60 c208–210 (1807)
  • Trio for piano, flute and violoncello F op.65 c214 (1807)
  • Notturno concertante for piano, violin and horn ad lib. It op. 68 c233 (1809); also as op. 69
  • 3 sonatas for harp and piano Bb, Eb, F op. 69 c234, 239, 243 (1810–11); also as op. 74, 72, 73
  • 2 sonatas for piano, violin and double bass Eb, B op. Posth. C260–261 (1812); No. 2 unfinished

Piano music

Piano sonatas

  • Sonata As op.5,3 c43 (1788)
  • 3 sonatas B, C, D op. 9 c57–59 (around 1789); Arrangement of the violin sonatas
  • 3 sonatas A, g , E op. 10 c60–62 (around 1789); Arrangement of the violin sonatas
  • 3 Sonatas C, G, F op. 14 c71–73 (1791); Arrangement of the violin sonatas
  • Sonata a op. 18,2 c80 (around 1792); also as op. 19,2
  • Sonata B op. 24 c96 (1793); also as op.23 and op.27
  • Sonata D op.25,2 c127 (1795)
  • Sonata D op.31,2 c133 (around 1795)
  • 3 sonatas B, G, c op. 35 c149–151 (1797)
  • 3 sonatas G, C, B op. 39 c166–168 (1799)
  • Sonata A op.43 c177 (1800)
  • The Farewell , Sonata Es op.44 c178 (1800)
  • 3 sonatas B, G, D op. 45 c179–181 (1802)
  • 2 sonatas D, G op. 47 c184–185 (1801)
  • Elégie harmonique sur la mort du Prince Louis Ferdinand de Prusse , Sonata f sharp op. 61 c211 (1806–7)
  • Le retour à Paris , Plus ultra , Sonata As op. 64 c221 (1807); also as opp. 70, 71 and 77
  • Sonata D op. 69,3 c242 (1811); also as op. 72,3
  • Sonata E flat op.75 c247 (1811)
  • L'invocation , Sonata f op.77 c259 (1812)

Sonatas for piano four hands

  • Grande Overture , Sonata C c144 (1796); also as op.32 and op.33
  • Sonata C op. 48 c186 (around 1801)
  • Sonatina C c207 (1806)
  • 3 Sonatas C, F, B op. 66 c230–232 (1809); also as op. 67
  • Sonata B op. 74 c234 (1811); Arrangement of the sonata for harp and piano op. 69,1
  • Sonata E flat op.72 c239 (1810)
  • Sonata F op. 73 c243 (1813); Arrangement of the sonata for harp and piano op. 69,3 safe



Web links

Commons : Jan Ladislav Dussek  - collection of pictures, videos and audio files

Individual evidence

  1. ^ Stanley Sadie (ed.): The New Grove Dictionary of Music and Musicians . Macmillan, London 1980, entry “Dussek”: “The spelling 'Dussek' is the normal one in English and German literature, and was the form used by the most important member of the family, Jan Ladislav; the original Bohemian spelling is 'Dussik' and present-day Czech 'Dusík'. "
  2. Digitized version of the baptismal register on the website of the State Archives in Prague (as of July 30, 2018).
  3. Heribert Sturm : Biographical Lexicon for the History of the Bohemian Lands . Published on behalf of the Collegium Carolinum (Institute) , Volume 1, pp. 288 f., R. Oldenbourg Verlag Munich Vienna 1979, ISBN 3 486 49491 0
  4. Ernst Ludwig Gerber, Historical-Biographical Lexicon of the Tonkünstler in two volumes, (1790 and 1792)
  5. Hanna Widacka, Taksica i Duszek (Polish)
  6. ^ Howard A. Craw, A Biography and Thematic Catalog of the Works of JL Dussek , Ann Arbor, Michigan, 1964, pp. 31-34