Second Movement Rondo from Sonatina in E Flat No.6 Opus 20


The music of J. L. Dussek is well worth discovering and playing. His Opus 20 Sonatinas are brimming with invention and musical interest and are perfect for developing a secure technique on a piano. This is music that both expresses and possesses the joy of its time. A rondo is a movement with a recurring theme. The repeats do not playback in the realisation. Music that has design and clear direction that is essentially pianistic. Musical ideas need to be clearly articulated without necessarily being exaggerated. The realisation plays back at a tempo of 72 dotted quarter note (crotchet) beats to the minute. Many of the early published scores of this movement have score detail that possibly is more suitable for the dry acoustic of earlier wooden framed pianos. Pianists may wish to add their own additional score detail particularly in respect to the note articulations but the music editors view is that is best to be minimalist. Some notes may require a staccato, an accent or tenuto marking but this aspect of performance is secondary to the requirement for secure fingering as encourages secure technique. Dussek was a Czech composer and like Beethoven is a transition figure linking the classical period to the romantic in a music history context. Dussek himself was a widely travelled piano virtuoso and was the first pianist to sit with his profile to the audience as is modern practice. The chromaticism in this movement suggests that this is more romantic than classical music. Dusssek is important too for encouraging the extension of the range of the piano to the 6-octave range and introducing pedal markings in the writing of piano music. He also composed music for the harp. The plain score is available as a free score and an edited music score with suggested fingering is available from PlentyMusic for one credit. In the edited music score the suggested fingering is notated above the note for the right hand and below the note for the left hand. Look out for the changing finger on a note which currently cannot be represented as clearly as the music editor intends. Bar 10 and 61 should logically contain the same music but they don’t. Players may well want to consider how they approach these two bars. A possible error in the score but by whom? The copyist, the engraver(s) or even the composer? It’s a much better question than you imagine because music printing of the distant past had so many inconsistencies. The music editor’s view is simply that many composers just did not have time to proof read the printer’s copy.





Added:   2021-07-16 10:30:02   | Views  : 318    | Downloads  : 0    

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