"Dussek was born four years after Mozart, and lived three years beyond Haydn, yet his life-works still can't be placed alongside those of the Classical Masters. In many respects, he can be looked upon as a forerunner to Romanticism, without him ever actually having a conscious aim to establish any new style.
"The earliest dating work featured in this recording is the Op. 32 in C major, also known as the 'Grande Ouverture', which was written in 1796. It was in that year that Dussek's 'piano study hook' was published, in London in English (and then in Leipzig in 1802 in German). Also in that year, he and lgnaz Joseph Pleyel were preparing to put out a work far publication in Paris in the following year — the 'Nouvelle Methode de Pianoforte, contenant les principes du doigte'. The monumental opening movement of the 'Grand Ouverture', (with a slow opening in sonata form) is lengthier than the following too, and superior even in it's refinement. (Therefore, truly justifying it's title of 'Grand Ouverture'). The solemn and stately nature of the 'Largo' calls to mind the French-type ouverture. In the fast main section, the first subject is followed by a lengthy transition section (in which the bridge function of the section is barely noticeable, because of the abundance of thematic material). It is soon noticeable, that the secondary theme, which begins as conventional and steady, is in actuality, flexible. The start of the development section is flighty in character, and the many chains of sequences can cause the listener to lose direction. It is the feature of the recapitulation, that after many modulations, the listener is once again thrown into uncertainty; the theme appearing in the subdominant, (almost as if the real recapitulation were actually only a false one). The F-major 'Larghetto' is the simple binary form — an 'Haven of Peace' within the work.
"In the closing 'Rondo', the characteristic circle dance is apparent, and in it's form, the structure is relatively free. The rondo theme is like an endlessly lengthy section in itself. As a result of this characteristic, any musical material can he introduced, distorting it's proportions, contrary to the expectations of the listener. Chronologically, his next work — also in C major — is the Op. 48, written in 1801, and is the first piece featured on this disc. The proportions of the movements are more even, though again it is the first movement that is the most significant. In the exposition section of the 'Allegro', transitions and modulations make the second subject area particularly lengthy. For the most part, it is from this pliable material that the heavily modulating development section is built. Surprisingly, in the following recapitulation, the opening of the first subject theme is not re-introduced. This 'surprise' element is emphasised further by the fact that it doesn't stay continuously within the tonic key.
"The middle movement a 'Larghetto' in A-flat major, almost reaches I Beethovenian heights and depths. It suggests a sense or intimacy, and at the same time, shows Dussek's sensitivity to key-symbolism.
"The C minor intermezzo leads with attacca into the following 'Rondo', in which the sections are dynamic and asymmetric, thus holding the attention. The theme on this occasion is also characterised by the fact that it can appear at anytime, almost imperceptibly, for as long as the previous material is able to blend with it. It's defining feature, is the lack of melodical particularity, and it is precisely because of that, that almost on the initial hearing, a sense of familiarity is awakened. The three fugues dating from 1808, are in D major, G minor and F major. In all three movements, the importance of the interlude sections appears almost negligible, as the movements are almost entirely structured around the thematic material.
"However, it would be futile to look for any characteristics of the art of the Baroque fugue, since the movements fulfil only mono-thematic expectations.
"Dussck's sensitivity towards the tonalities he chooses can be traced back to the start of his career. He was particularly drawn to the key of G minor, which he would always use to achieve a specific atmospheric effect.
"His late 'Piano sonata in B major' (1811), with the slow movement — a heart-rending funeral march in G minor — is a fine examples of this. As if self-conscious in openly displaying his emotions, he diverts attention towards a light-hearted minuet-finale." (Katalin Eider, tr. Catherine Offord. From the liner notes.)
Performers: Adrienne Soós, Ivo Haag
1. Sonata In C Major, Op. 48 (C. 186): I. Allegro
2. Sonata In C Major, Op. 48 (C. 186): II. Larghetto Affetuoso E Non Troppo Lento
3. Sonata In C Major, Op. 48 (C. 186): III. Intermezzo. Allegretto Moderato Ma Energico - Rondo. Allegro Moderato
4. Grande Sonate In B-Flat Major, Op. 74 (C. 234): I. Allegro Con Fuoco
5. Grande Sonate In B-Flat Major, Op. 74 (C. 234): II. Marche Funebre. Andante Moderato
6. Grande Sonate In B-Flat Major, Op. 74 (C. 234): III. Menuetto. Tempo Di Ballo - Quasi Andante
7. Three Fugues, Op. 64: Fuga I (C. 227). Tempo Molto Moderato
8. Three Fugues, Op. 64: Fuga II (C. 228). Andante Moderato
9. Three Fugues, Op. 64: Fuga III (C. 229). Tempo Ad Libitum Ma Non Presto
10. Sonata In C Major, Op. 32 (C. 144): I. Largo - Allegro Moderato
11. Sonata In C Major, Op. 32 (C. 144): II. Larghetto Non Tanto
12. Sonata In C Major, Op. 32 (C. 144): III. Rondo. Allegretto
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