František Xaver Dušek: Piano concerto in E flat major

František Xaver Dušek (German: Franz Xaver Duschek or Dussek)

 baptised 8 December 1731 – 12 February 1799)

was a Czech composer and one of the most important harpsichordists and pianists of his time.

 

Piano concerto in E flat major[사진 속 인물은 Jan Ladislav Dussek임]

 

Jan Novotný (piano), Pardubice State Chamber Orchestra, Libor Pešek (conductor)
I. Allegro – 00:00
II. Adagio (Cadenza – Jan Novotný) – 05:41
III. Allegro – 15:29

“Nowadays, František Xaver Dušek (Duscheck, Duschek, Dussek) is seen, by both the musical and general public, predominantly as the husband of the singer Josefina Dušek and as Mozart's host. His own output is relatively little known. Nevertheless, Dušek was one of the prominent personalities of Prague musical life in the second half of the 18th century, not only as a composer, but also as a pianist and music teacher.
Dušek moved first to Prague where he studied with František Václav Habermann, and then to Vienna where he became a pupil of the court harpsichordist Georg Christoph Wagenseil. After returning to Bohemia, Dušek settled in Prague, devoted himself to composing and teaching (his pupils included Leopold Koželuh, Jan Matyáš Vitásek or Vincenc Václav Mašek), and his home became an important centre of music. Although he lived in Prague permanently, Dušek never lost contact with world musical events. He was therefore well informed of what was going on in the music of his time.
Among those Czech composers of the latter half of the 18th century who stayed in the country, Dušek was undoubtedly one of the most important composers of instrumental music: the main part of his output consists of orchestral, chamber and piano works. Proven is his authorship of 37 symphonies, 20 string quartets, 21 string trios, 49 parthitas for the wind instruments, 5 serenades, 3 divertimentos, 13 minuets, 9 harpsichord concertos, 28 two-handed and 7 four-handed harpsichord sonatas, 6 harpsichord sonatinas, and seven sets of variations. Dušek's work thus written in a period stretching from late Baroque to high Classicism, similar, for instance, to the work of Haydn. Dušek's musical style grew from the fully mastered essentials of the old Vienna school, reaching mature Classical expression of the Haydnesque character. We can discern the influence of the gallant style of the Italian type in it (Hasse, Galuppi, Rutini), as well as the influence of the Berlin school (Benda, C. P. E. Bach), especially in the slow movements of some sonatas and concertos; Baroque elements also appear now and then.” (by Vojtěch Spurný)