Dussek: Complete Piano Sonatas, Op. 18 No. 2 & Op. 45 Wolfgang Brunner

• Johann Ladislaus Dussek (1760 - 1812): Piano Sonata No. 7 in A Minor, Op. 18 No. 2:
• 1 Piano Sonata No. 7 in A Minor, Op. 18 No. 2: I. Agitato assai 06:43
• 2 Piano Sonata No. 7 in A Minor, Op. 18 No. 2: II. Rondo. Allegretto moderato 05:11
• Piano Sonata No. 19 in B-Flat Major, Op. 45 No. 1:
• 3 Piano Sonata No. 19 in B-Flat Major, Op. 45 No. 1: I. Allegro cantabile 09:33
• 4 Piano Sonata No. 19 in B-Flat Major, Op. 45 No. 1: II. Adagio patetico 05:14
• 5 Piano Sonata No. 19 in B-Flat Major, Op. 45 No. 1: III. Rondo scherzo. Allegro da ballo 05:29
• Piano Sonata No. 20 in G Major, Op. 45 No. 2:
• 6 Piano Sonata No. 20 in G Major, Op. 45 No. 2: I. Larghetto sostenuto - Allegro di molto 09:08
• 7 Piano Sonata No. 20 in G Major, Op. 45 No. 2: II. Rondo. Andantino con moto 05:57
• Piano Sonata in D Major, Op. 45 No. 3:
• 8 Piano Sonata in D Major, Op. 45 No. 3: I. Allegro moderato 09:07
• 9 Piano Sonata in D Major, Op. 45 No. 3: II. Larghetto con moto 03:25
• 10 Piano Sonata in D Major, Op. 45 No. 3: III. Rondo. Allegro moderato assai 05:07
• Total Runtime 01:04:54

Info zu Dussek: Complete Piano Sonatas, Op. 18 No. 2 & Op. 45

The latest in an eight-volume series, surveying the cycle of sonatas written by a highly original, Czech-born contemporary of Mozart and Beethoven, featuring complementary performance approaches by eight pianists.

Wolfgang Brunner presents two opus numbers composed by Dussek in 1792 and 1800, around the time of the beginning and then the painful end of his marriage to the singer and harpist Sophia Corri. The comparatively early Op.18 No.2 shares the modest dimensions of Haydn’s early keyboard sonatas, though by then Dussek was 32 years old and Haydn had already paid fulsome tribute to the younger man’s ‘remarkable talents’.

Upon his marriage to Sophia he ran a moderately successful music publishing firm with his new father-in-law, Domenico Corri, but when the firm went bust late in 1799 Dussek abandoned Sophia and their daughter and fled to Hamburg; during the following year he wrote a trio of sonatas published in 1802 as Op.45. These are all more ambitious in scale and expressive reach. The slow movement of Op.45 No.1 bears the significant marking of Adagio patetico, and it explores reaches of grave feeling through harmonies in advance of their time. The two-movement Op.45 No.2 opens with a Larghetto sostenuto of grave concentration, though the mood is lifted by a gently circular, almost Schubertian Andantino. A lighter, more cheerful character pervades the D major Sonata Op.45 No.3, which concludes with one of the effervescent Rondos for which Dussek was celebrated in his own lifetime.

On this recording Wolfgang Brunner plays a pair of instruments from Dussek’s time: an 1804 Broadwood, and a modern copy of a Viennese fortepiano originally made around 1810 by Michael Rosenberger. Once complete, the cycle will form the first-ever recording of Dussek’s sonatas on historically appropriate instruments.

The continuation of an exciting new project: the recording of the complete piano sonatas by Dussek!

Johann Ladislaus Dussek (1760-1812) was born in rural Bohemia. He led a restless life, travelling Europe as a keyboard virtuoso and settling in several European capitals, notably Paris and London, where he became a fashionable pianist and teacher. His close connection to piano manufacturer Broadwood resulted in important innovations, notably the extension of the keyboard to 6 octaves. Dussek’s style is rich, harmonically expressive and pianistically challenging, Classicism on the brink of Early Romanticism. This new instalment contains the early Piano Sonata Op. 18 No. 2 and the three Sonatas Op. 45, substantial works of a successful and mature composer.

Played by Wolfgang Brunner, a veteran in the Early Music movement. A student of Glen Wilson and Nikolaus Harnoncourt he won First Prize in the Hamburg CPE Bach Competition. He is the founder and leader of Salzburger Hofmusik, playing on period instruments. On this recording he plays an historic 1804 Broadwood piano.

Wolfgang Brunner, fortepiano

Wolfgang Brunner
looks back to a lot of studies: music education and musicology in Munic and Salzburg and piano with Hans Leygraf, later he studied harpsichord with Liselotte Brändle, Kenneth Gilbert and Glen Wilson, Performance practise with Nikolaus Harnoncourt. In fortepiano he got impulses by Eckart Sellheim and Richard Fuller.

Since 1985 is teaching historical keyboard instruments, Piano, Pianoimprovisation and Chambermusic at the „Mozarteum“ Salzburg. He also got lectureships in fortepiano at the music academies in Karlsruhe. Trossingen and (at moment) Linz, and was member of many International juries concerning fortepiano or harpsichord.

1998 he was first winner of the International C.P.E. Bach Competition in Hamburg (Combination of Fortepiano and Harpsichord), in 1989 he was first winner of the International Mozart Competition in Brugge (Fortepiano). Since this time he was invited to all important Festivals for Early music (f.e. Brugge, Utrecht, Herne), his partners have been Barbara Schlick, Michael Schopper, Konrad Hünteler, Lucy van Dael, Freiburger Barockorchester.

In 1991 he started concerts with his own band Salzburger Hofmusik , an Ensemble playing mainly (but not exclusivly) music on contempory instruments. A main subject of the repertoire consists of Salzburgian music-tradition before Mozart.

Under his CD-recordings you can find much pioneer recordings, f.e. complete pianoworks of Anton Bruckner, E.T.A. Hoffmann, songs of Carl Orff, with the Salzburger Hofmusik there are recordings of opera, orchestral and chamber music, many of them awarded with prizes. After winning some competitions in fortepiano and harpsichord Wolfgang Brunner was invited to all important Festivals for Early music and recording more than 60 CD’s solo and with his ensemble SALZBURGER HOFMUSIK (www.hofmusik.at) . At moment he is professor at music academies at Mozarteum Salzburg and Bruckner-Universität Linz, often asked member of jurys and master classes. Beside his concert activities he was publishing in themes as historical dance, historical informed performance practice, improvisation.

Dieses Album enthält kein Booklet