#dussek

Jan L Dussek - Piano Sonata in F-sharp minor ("Elégie Harmonique"), Op. 61 - Constance Keene, piano

Harold Schonberg wrote that Dussek was the first pianist to sit at the piano with his profile to the audience, earning him the appellation "le beau visage." All subsequent pianists have sat on stage in this manner. He was one of the best-regarded pianists in Europe before Beethoven's rise to prominence.

There is often some confusion between famed pianist Jan Ladislav Dussek and composer František Xavier Dušek, due sometimes to their quite similar last names. The latter was, of course, a dear friend of Mozart and represents an older generation, while the former is more noted for his work between 1780 and 1810. A friend of Joseph Haydn, his career as a concert pianist was significant, and he was even able to overcome the political issues of the time to serve both Marie Antoinette and Prince Tallyrand in Paris, though being a monarchist he sat out the French Revolution in England. He also was at the heart of a notorious affair with Anne-Marie Krumpholtz, whose husband Jan committed suicide in a fit of despondency after Dussek and his wife eloped to London in 1789.

Although regarded as arrogant and vain, Dussek nonetheless achieved considerable success for his brilliant performances, being one of the first forerunners of the Romanic pianists. This disc presents two of his later sonatas, written for the enhanced fortepiano of six octaves. The first, entitled “La retour à Paris,” dates from 1807 and marks his re-entry into the world of the Parisian salon. The second is possibly his last composition and is entitled “L’invocation,” possibly a reference to his own decline along the fortunes of his new adopted country, France. Shortly after its publication in 1811, Dussek too passed away, apparently beset by depression and melancholy. Both are in keys of four flats, but the first is in the rather Romantic key of A-flat Major, while the latter is appropriately in F Minor. Both works depart from the normal three-movement sonata format in that they have four, each of which has some rather descriptive tempo markings. The first begins with a rustling accompaniment, above which a chromatically rich line appears. The texture is thick and the writing fluid, with a restlessness that cannot be suppressed. The passagework is brilliant, the modulations and dynamic changes ever present, and the various motivic sections merge imperceptibly into each other. The second is flowing and dreamy, belonging more to the realm of the nocturne as expressed by John Field and subsequently Chopin. Here, the lines are filled with kaleidoscopic harmonic and textural changes, with the line unfolding with calm chromaticism. The third is a minuet that expands with enharmonic changes and a rather solemn mood. We are far from the world of the ballroom here, and in the central section, designated a scherzo, the triplet figuration is a nod rather backwards to a compound meter gigue, but with a smooth flow. The finale is jaunty, almost Bohemian in melody and rhythm, with sudden leaps and lively cross rhythms.

The F-Minor Sonata, on the other hand, is dark and stormy at the beginning, with powerful chords that evolve into a mournful theme that is both restless and fluid. If Beethoven had written this movement, it would have been a repertory favorite. In the major section, the brilliant figuration lends a touch of virtuosity. The second is a minuet canon at the second, but the triple meter bar is subsumed into the imitative sequences between the right and left hands of the piano. There is a rather lyrical central section that interrupts the counterpoint. The Adagio third movement is a gentle and lyrical episode, with rocking dotted rhythms and a pensive tone, while the final rondo is a bit manic with sequenced motives and a fast Siciliano rhythm and passages of imitation that modulate into some interesting harmonic areas but without the extensive chromaticism that one might expect. Both sonatas represent a symphonic view of the genre, something that is more forward-looking than one could expect. Here one understands the world in which Beethoven lived, and Dussek’s sonatas reflect the new Romantic idiom well.

Pianist Anne de Dadelsen performs these works with considerable skill and ease, handling the often tortuous passagework with a delicate balance between power and flexibility. The sound is clear, and her phrasing is calculated to bring out the various sequential motivic units and themes is clarity. The Dussek works should be common in a pianist’s repertory, and she makes the case for his importance in the development in the field of Romanic period piano literature. 

We are approaching to the final of this special Harp Music Week, here on Musica in Extenso. I observed on this blog, that Melinda Beasi @cantationem, pays a special attention to Female Composers - a great series, that caught my eye and I decided to write today about a very interesting female composer, Sophia Dussek.

Today on Musica in Extenso:

Sophia Dussek

Sonata for harp in c-moll, op. 3, n.3 (1797)

Now let's get into older music, there's plenty for the harp, especially from the classical period, thanks to the Dussek family. As you may have noticed, this piece was composed by a woman, which was unusual for that time, and to this day it's still sometimes falsely attributed to her husband (also a composer). Dussek, née Corri was half Italian, and her Italian ancestry is very audible in this composition. Especially in the first two movements, and in the minore of the third movement. It's charming, mysterious, and at times it resembles the rococo period. The piece starts with a sober Allegro, its first few notes resembling a powerful church organ, and gets progressively more insane, ending with the Rondo Allegro, best described with a very non-academic term, "like an acid trip". The Andantino makes a bridge between those two.

New Post has been published on http://dicasdemulher.tk/2024/03/como-plantar-batata-doce-em-vaso-de-forma-facil/

Como plantar batata-doce em vaso de forma fácil

Aprenda como plantar batata-doce em vaso e garanta que vai sempre ter o tubérculo em casa para consumir!

Se você ama comer batata-doce e desfrutar de todos os benefícios que esse tubérculo pode oferecer para a sua saúde e a sua dieta , e quer aprender como plantar a batata-doce em vaso, fica com a gente! Pode parecer complexo, mas é totalmente possível seguir essas dicas simples e que podem ajudar você a produzir a sua própria batata-doce.

Altamente nutritivo e benéfico para a saúde , a batata-doce é um daqueles alimentos dos quais ter uma plantação própria pode ser extremamente beneficial! Se engana quem pensa que é difícil e inacessível plantar batata-doce em vaso, fique conosco para aprender como fazer isso.

Saiba dicas essenciais para você plantar a batata-doce.

1. Deixe os tubérculos apoiados em palitos até que eles criem raízes

Para facilitar o processo, apoie os tubérculos em palitos ou em superfícies suspensas e deixe ele criar raízes, para então transferir para um vaso.

2. Escolha o vaso ideal e prepare o substrato

Opte por um vaso grande o suficiente para acomodar as raízes da batata-doce, de 30 a 40 cm de profundidade e utilize um substrato bem drenado e rico em matéria orgânica.

3. A temperatura importa

As batatas-doces preferem temperaturas mais quentes. São plantas tropicais sensíveis ao frio. Para que este tubérculo se desenvolva da melhor forma, é necessário que a temperatura média entre 24 e 35 °C.

4. A luz é essencial

A batata-doce precisa de pelo menos 2 a 4 horas de luz solar direta para se desenvolver, portanto, escolha um local adequado.

5. Rega adequada