Top > Other Musicians > Influence from Dussek and C.P.E. Bach

This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

Dussek and His Influence from Emanuel Bach

His works include piano sonatas, concertos, and chamber music, with notable pieces such as "Elégie harmonique" and “La Consolation.” His later sonatas, in particular, are noted for their formal freedom and emotional depth, serving as precursors to Romantic music. Dussek spent his final years in Saint Petersburg, where he died in 1812. Although his music did not have a direct influence on later generations, it played an important role in the development of piano music.

ChatGPT4o asked: "Did Dussek influence Emanuel Bach?"

It is quite possible that Jan Ladislav Dussek was influenced by Carl Philipp Emanuel Bach. Although direct evidence is scarce, several reasons suggest that Emanuel Bachʼs innovations may have influenced Dussek in terms of musical style and expression.

Common Characteristics and Potential Influence

1. Rich Emotional Expression (Empfindsamkeit and Romantic Elements)

   • Emanuel Bach is a representative composer of the Empfindsamer Stil, characterized by sudden emotional changes, dramatic expression, and unexpected harmonic progressions, particularly evident in his keyboard works.
   • Dussekʼs piano works also exhibit emotionally rich expressions that anticipate the Romantic era. Emanuel Bachʼs influence may have indirectly contributed to the development of this style.

2. Technical Innovations in Keyboard Instruments

   • Emanuel Bach maximized the potential of the clavichord and fortepiano, with his pursuit of free phrasing and dynamics influencing the development of piano music.
   • Similarly, Dussek explored the possibilities of the fortepiano, focusing on the instrumentʼs expressive capabilities. In this regard, Emanuel Bachʼs innovations may have indirectly influenced him.

3. Bridge to the Romantic Era

   • Emanuel Bach bridged the Classical and Baroque periods while pioneering a compositional style that emphasized direct emotional expression. This style shares similarities with Dussekʼs role as a bridge to the later Romantic era.
   • Dussekʼs works, especially his later sonatas, prominently feature lyrical and personal emotional expression, possibly continuing Emanuel Bachʼs innovative spirit.

4. Improvisation and Free Form

   • Emanuel Bachʼs works, particularly his fantasias and rondos, are notable for their improvisational elements and free form.
   • Dussek also composed many works with free form and improvisational character, suggesting possible influence from Emanuel Bachʼs style.

Conclusion

While there is little evidence that Dussek directly studied Emanuel Bachʼs works, there is a high possibility that he was indirectly influenced in terms of the evolution of musical style and expression. Emanuel Bachʼs innovations had a wide-ranging impact on the next generation of keyboard composers, playing an undeniable role in the transition from the late Classical to the Romantic period, as seen in composers like Dussek.

ChatGPT4o asked: "Did Dussek influence Beethoven">Beethoven?"

It is unlikely that Jan Ladislav Dussek was directly influenced by Ludwig van Beethoven. Rather, both were composers of nearly the same era, with Dussek being older (born in 1760, while Beethoven was born in 1770) and having established his own style early in his career. Therefore, if there is any influence, it should be discussed in terms of Dussek possibly influencing Beethoven.

Reasons and Background

1. Contemporaneity

   • Dussek was active from the late 18th to the early 19th century, gaining fame in Europe, particularly in the 1790s. Meanwhile, Beethovenʼs early works (such as Piano Sonata Op.2) appeared in the late 1790s. Thus, Dussek had little opportunity to learn from Beethovenʼs works.

2. Geographical and Activity Separation

   • Dussek was active in various parts of Europe, including London, Paris, and Hamburg, but had little activity in Vienna. On the other hand, Beethoven was based in Vienna, and it is believed that they never met directly.

3. Differences in Style

   • Dussekʼs works are characterized by features of the transition from the late Classical to the Romantic period, focusing on lyrical melodies, expanded expressive capabilities of the piano, and exploring the technical possibilities of the fortepiano.
   • Beethovenʼs music is known for its formal expansion, bold harmonies, and innovations in symphonies and chamber music. While both shared the same historical background, their approaches and priorities differed.

4. Dussekʼs Influence

   • Dussekʼs piano music, especially his sonatas and programmatic works (e.g., “The Sorrowful Sonata”), played a significant role in the development of Romantic music. While these features may have influenced 19th-century composers, there is little evidence of specific influence on Beethoven.

Commonalities between Dussek and Beethoven

• Use of the Fortepiano

  • Both had a significant impact on the evolution of the fortepiano. Dussek explored new possibilities for the piano and contributed to the evolution of instrument manufacturing. Meanwhile, Beethoven pursued bold sound effects using custom pianos.

• Bridge to the Romantic Era

  • While Dussekʼs expressive works are considered precursors to Romantic music, Beethoven also played a crucial role in the transition from the Classical to the Romantic era.

Conclusion

There is little direct evidence that Dussek was influenced by Beethoven. Instead, both independently and concurrently pursued new musical possibilities. As a result, while there are some commonalities in their music, it is more appropriate to consider them as similarities based on contemporaneity rather than an influence relationship.

ChatGPT4o asked: "If Dussek influenced Beethoven, in what ways might that have occurred?"

If Jan Ladislav Dussek influenced Ludwig van Beethoven, it might be related to innovations in piano music and the introduction of Romantic elements. Here are some specific aspects to consider:

1. Expansion of Piano Expressiveness

• Dussekʼs Characteristics:

  • Dussek composed works that utilized the characteristics of the fortepiano, maximizing the instrumentʼs expressive capabilities. He excelled in expanding the range and expressing delicate dynamics, advancing piano music technically and expressively.
  • His later works, in particular, are notable for their wide range and use of pedal effects.

• Influence on Beethoven:

  • While Beethoven also innovated the range and expressiveness of the piano, Dussekʼs pioneering piano expression may have inspired his creations.
  • Some of Dussekʼs sonatas, especially those with a tragic or dramatic character, seem to anticipate the emotional depth of Beethovenʼs piano sonatas (such as “Pathétique” and “Moonlight”).

2. Programmatic Elements

• Dussekʼs Characteristics:

  • Dussek incorporated programmatic elements into his piano music. For example, works like "Elégie harmonique" and “La Consolation” express specific emotions or scenes.
  • These works became precursors to program music and Romantic emotional expression.

• Influence on Beethoven:

  • Beethovenʼs works, particularly Symphony No. 6 “Pastoral” and the piano sonata “Tempest,” contain elements of scene depiction and narrative. This programmatic approach may have been influenced by Dussekʼs programmatic works.

3. Lyrical and Emotional Style

• Dussekʼs Characteristics:

  • Dussekʼs piano works are characterized by beautiful melodies and emotional expression. His later sonatas, in particular, prominently feature Romantic lyricism.
  • His music often has a melancholic atmosphere, foreshadowing the emotional depth of 19th-century Romantic music.

• Influence on Beethoven:

  • Beethovenʼs later piano sonatas often exhibit profound and introspective character. Dussekʼs style may have influenced some of this emotional exploration.

4. Free Form and Innovative Structure

• Dussekʼs Characteristics:

  • Dussek attempted bold changes to traditional forms. Some of his sonatas deviate from traditional sonata form and have free movement structures.
  • Examples include sudden modulations and non-traditional phrase developments.

• Influence on Beethoven:

  • Beethoven established his own style without being bound by traditional forms. The freedom of form and experimental elements seen in his later works may have been influenced by Dussekʼs formal innovations.

5. Innovation in the Role of the Musician

• Dussekʼs Characteristics:

  • Dussek was one of the early figures to establish the modern concept of the “pianist-composer.” He traveled across Europe, performing and gaining popularity as a pianist.
  • He established the style of being both a performer and a composer earlier than Beethoven, demonstrating a modern image of a performer.

• Influence on Beethoven:

  • Beethoven also thrived as both a composer and a performer. Dussekʼs precedent may have served as part of the model for Beethoven to spread his own music.

Conclusion

If Dussek influenced Beethoven, it would be in terms of piano expressiveness, freedom of form, emotional expression, and innovation in the role of the musician. However, this influence should be seen as indirect within the context of the eraʼs trends rather than direct. Dussekʼs style and ideas became part of the foundation for Beethoven and subsequent composers to develop Romantic music.

ChatGPT4o asked: “Who were the composers that mainly influenced Dussek?”

Considering Jan Ladislav Dussekʼs musical style and the period in which he was active, it is believed that he was influenced by composers representing the transition from the Classical to the Romantic era. Below are some composers who are thought to have influenced Dussek.

1. Carl Philipp Emanuel Bach (C. P. E. Bach)

• Reason:
  • Emanuel Bach was a representative composer of the **Empfindsamer Stil**, which emphasized emotional expression and was characterized by improvisational freedom and rich emotional expression in keyboard music.
  • Dussekʼs piano sonatas and emotional works (e.g., "Elégie harmonique") exhibit emotional depth and free expression that may have been influenced by Emanuel Bach.

2. Haydn">Joseph Haydn

• Reason:
  • Haydnʼs influence is particularly evident in the formal completeness and clear structure of Dussekʼs early sonatas, which contain classical elements similar to Haydnʼs piano sonatas.
  • Additionally, Haydnʼs musical humor and lightness may have influenced some of Dussekʼs works.

3. Mozart">Wolfgang Amadeus Mozart

• Reason:
  • Some of Dussekʼs melodic richness and light, elegant piano works may have been influenced by Mozart.
  • In particular, the formal elegance and transparency of Mozartʼs piano concertos and sonatas are reflected in Dussekʼs early works.

4. Muzio Clementi

• Reason:
  • Clementi played a significant role in the technical development of the fortepiano, greatly expanding the form and technique of the piano sonata.
  • Dussek, who was active in the same era as Clementi, shared a common interest in exploring new possibilities for the fortepiano and may have been influenced by Clementi.

5. Carl Stamitz and the Mannheim School

• Reason:
  • The influence of the Mannheim School, with its dynamic expression, rapid modulations, and dramatic crescendos, was widespread throughout Europe in the late 18th century, and these characteristics are also evident in Dussekʼs music.

6. Luigi Cherubini and French Composers

• Reason:
  • Dussek spent a significant amount of time in France and was influenced by French musicians and their style. The dramatic and refined style of Cherubini and other French composers may be reflected in his works.

7. Johann Sebastian Bach

• Reason:
  • While Dussek was not directly influenced by Bach, Bachʼs works were widely used as a foundation for music education and composition, suggesting an indirect influence.
  • Particularly, counterpoint and harmonic foundations are thought to be reflected in Dussekʼs works.

8. Johann Christian Bach

• Reason:
  • Considering Dussekʼs incorporation of contemporary musical trends, the influence of Johann Christian Bachʼs keyboard music and concertos may be evident.

Conclusion

The composers who primarily influenced Dussek include those representing the Classical era, such as Emanuel Bach, Haydn, Mozart, and Clementi. Additionally, influences from the Mannheim School and French composers are also evident, suggesting that Dussek absorbed diverse musical elements to build his unique expression. His music, based on these influences, formed a bridge to 19th-century Romantic music.

ChatGPT4o asked: "According to Wikipedia, Dussek may have studied with Emanuel Bach. Is there any evidence to support this?"

There is no definitive historical evidence confirming that Jan Ladislav Dussek studied with Carl Philipp Emanuel Bach. However, some sources and historical contexts suggest the possibility, as outlined below.

1. Dussekʼs Stay in Germany

Dussek was active in Germany from around 1782 to 1786, during which time Emanuel Bach was working as a music director in Hamburg. This geographical and temporal overlap suggests the possibility of contact between the two.

• Lack of Supporting Evidence:
  • However, no direct evidence (such as letters, diaries, or records of apprenticeship) has been discovered, leaving the possibility as speculation.

2. Similarity in Musical Style

Dussekʼs works exhibit elements reminiscent of Emanuel Bachʼs influence. These stylistic similarities could be the result of direct education.

• Emotional Expression (Empfindsamer Stil):

  • Dussekʼs music features characteristics similar to Emanuel Bachʼs emotional and improvisational style (Empfindsamer Stil). Dussekʼs sense of free form and delicate expression may have been influenced by Emanuel Bach.

• Improvisational Elements in Keyboard Works:

  • Dussekʼs works display improvisational elements and bold harmonic progressions, sharing commonalities with Emanuel Bachʼs fantasias and sonatas.

3. Speculation by Music Historians

• Some music historians and literature suggest the possibility that Dussek had contact with Emanuel Bach in his youth. However, these speculations rely on musical style and geographical background rather than clear primary sources.

4. Widespread Influence of Emanuel Bach

• Emanuel Bachʼs works were highly regarded and widely performed throughout Europe during his lifetime. Therefore, even without a direct mentor-student relationship, Dussek may have learned Emanuel Bachʼs style through his scores.

• Influence through Publications:

  • Emanuel Bachʼs keyboard works and theoretical writings (such as “Essay on the True Art of Playing Keyboard Instruments”) were important materials for keyboard players of the time, and Dussek may have studied them.

Conclusion

There is no clear evidence that Dussek directly studied with Emanuel Bach. However, the following points suggest the possibility:

1. Their regions and periods of activity overlapped.
2. Dussekʼs music contains elements similar to Emanuel Bachʼs style.
3. He may have learned indirectly through Emanuel Bachʼs theoretical writings and publications.

At present, this remains an intriguing hypothesis in music history, requiring further research and discovery.

ChatGPT4o asked: “Did Dussek compose symphonies?”

Jan Ladislav Dussek did not compose symphonies. His works primarily focus on piano music, particularly piano sonatas, chamber music, and concertos. While he also composed some songs and religious music, he did not engage in the symphonic genre.

Reasons Dussek Did Not Compose Symphonies

Several reasons can be considered:

1. Specialization in Keyboard Instruments
   Dussek was highly regarded as a keyboard performer, focusing on piano works and chamber music that utilized his talents. His piano music was innovative, significantly expanding the possibilities of keyboard instruments at the time.

2. Demand and Environment for Symphonies
   In the regions where Dussek was active (such as Paris and London), there was more demand for piano pieces and chamber music suitable for salon culture than for large-scale orchestral works like symphonies. Therefore, he may not have had a strong motivation to compose symphonies.

3. Interest in Other Genres
   Dussek focused on “lyrical and emotionally expressive music” and works based on the “Empfindsamer Stil,” which were more suited to piano and chamber music than symphonies.

Dussekʼs Orchestral Works

While he did not compose symphonies, some orchestral works exist:

• Piano Concertos
  Dussek composed several piano concertos intended for performance at his concerts, exploring the expressive capabilities of the solo piano.

• Overtures
  Dussek composed overtures for operas and cantatas. While these works may have structures similar to symphonies, they are distinct from symphonies themselves.

Conclusion

While Dussek did not compose symphonies, he left behind piano concertos and overtures, reflecting his characteristic emotional expression and originality. His music shines particularly in piano music and chamber music, rather than in symphonies.

ChatGPT4o asked: “How many piano concertos did Dussek compose?”

Jan Ladislav Dussekʼs piano concertos currently number 16 confirmed works. However, some of these are lost or only partially extant. Below is an overview of these works.

Characteristics of Dussekʼs Piano Concertos

1. Style and Form:

   • Dussekʼs piano concertos are based on Classical traditions, characterized by his unique lyricism and rich emotional expression.
   • The orchestral accompaniment is relatively simple, focusing on the piano solo parts.
   • They include elements of the Empfindsamer Stil and Romanticism, serving as precursors to these styles.

2. Numbering:

   • Dussekʼs piano concertos do not have clear numbering. They are often identified by D numbers (Howard Crawʼs catalog) or WoO (works without opus numbers).

3. Publication Status:

   • Many works were published and performed in concerts of the time, but some are lost.

List of Confirmed Piano Concertos

Below is a list of some of the existing or known piano concertos:[The original text may have discrepancies in opus numbers or keys, but it is presented as is.]

1. Piano Concerto in F Major, Op. 1

   • One of Dussekʼs earliest concertos, strongly influenced by the Classical style.

2. Piano Concerto in E-flat Major, Op. 3

   • A representative early work with clear form.

3. Piano Concerto in F Major, Op. 14

   • Features a brilliant solo part with increased emotional expression.

4. Piano Concerto in G Major, Op. 22

   • A work from Dussekʼs mature period.

5. Piano Concerto in D Minor, Op. 49

   • Dramatic and emotionally rich, with strong Romantic characteristics.

6. Piano Concerto in E-flat Major, Op. 70

   • A later work notable for its refined structure.

7. Unfinished or Partially Extant Concertos

   • Some works do not survive in complete form.

Uncertain or Lost Works

• Some piano concertos lack sufficient documentation, making details unclear.
• There are records of 19th-century publications, but some scores are now lost.

Summary

• Approximately 16 confirmed piano concertos by Dussek.
• These works are significant for their innovation in piano performance and the transition from the Empfindsamer Stil to Romanticism.
• Some works are lost or only partially extant.

Dussekʼs piano concertos demonstrate his innovative approach to piano music and are valuable for understanding the development of piano concertos from the late 18th to the early 19th century.

ChatGPT4o asked: "How widely were Dussekʼs piano pieces performed during his time?"

Jan Ladislav Dussekʼs piano pieces were widely performed and appreciated during his lifetime. In the European music scene of the time, he was highly regarded both as a composer and as an outstanding pianist, and his piano works were an important repertoire for showcasing his technique and expressiveness.

1. Characteristics of Dussekʼs Piano Pieces

• Highly Effective for Performance: Dussekʼs piano pieces were based on his own performance techniques, maximizing the potential of the new pianos (fortepianos) of the time.
• Affinity with Salon Culture: Many of his piano works were intended for performance in the salon music scenes of Paris and London, characterized by technical prowess and melodies and emotional expressions that appealed to audiences.
• Innovative Expression: Dussek developed lyricism and emotional expression in piano music, earning a position as a precursor to the Empfindsamer Stil and Romanticism.

2. Performance Activities During His Lifetime

Dussek traveled across Europe, enhancing his reputation as a pianist while performing his piano works.

• Performance Locations:

  • Paris: Dussek was active in Paris during the turmoil of the French Revolution, gaining attention through salon performances and concerts.
  • London: He spent a long time in England, performing frequently before royalty and nobility under the patronage of George IV.
  • Germany: Dussekʼs works were also known in Germany, influencing contemporary composers.

• Self-Performance: Dussek performed many of his works himself, showcasing his skills and expressiveness as a pianist. His piano sonatas and fantasies were central to his concert repertoire.

3. Contemporary Evaluation

Dussekʼs piano pieces were widely appreciated and performed during his time. The following evaluations are recorded:

• Praise as a Pianist: Dussek was famous for his smooth touch and emotionally rich expression. His performances were often described as “singing music.”
• Innovative Composer: Dussekʼs piano works were considered highly progressive for their time, particularly noted for their freedom of form and emotional expression based on the Empfindsamer Stil.
• Dissemination by Many Students and Performers: Dussekʼs works were widely disseminated through his students and piano teachers.

4. Popular Works

Particularly popular works included:

• Collections of Piano Sonatas: Dussekʼs sonatas were performed in many salons, supported for their technical and emotionally rich content.
• Fantasies and Impromptus: Works with free form and expressive power captivated audiences.
• Piano Concertos: Dussekʼs piano concertos were central to his performance activities, attracting attention.

5. Influence on Later Generations

• Bridge to the Romantic Era: Dussekʼs piano music influenced later Romantic composers such as Schubert, Chopin, and Liszt.
• Development of Concert Formats: Dussekʼs performance style contributed to the development of concert culture, establishing the status of the pianist-composer.

Conclusion

Dussekʼs piano pieces were widely performed and loved by many audiences during his lifetime. His music played a particularly important role in salon culture, influencing contemporary composers and performers. His works represented the cutting edge of piano music at the time and played a crucial role in shaping the flow toward Romantic music.

ChatGPT4o asked: "Why are some of Dussekʼs works forgotten and their scores lost despite their popularity?"

The reasons why Jan Ladislav Dussekʼs works, despite their popularity during his lifetime, were later forgotten and some scores lost, are significantly influenced by the musical culture, publishing circumstances of his time, and subsequent trends in music history. Below is a detailed explanation of these backgrounds.

1. Changes in Musical Style

• Rise of the Romantic Era
  Dussek was active during the transition from the Classical to the Romantic period. His music contained elements of the Empfindsamer Stil and Classical elements while also anticipating Romanticism. However, the music of later Romantic composers (such as Chopin and Liszt) pursued more dynamic and dramatic elements, making Dussekʼs music seem relatively “restrained” or "old-fashioned."

• Obscured Position in History
  Dussek was neither seen as a completer of the Classical era nor a representative of the Romantic era, possibly leading to his being overshadowed as a historical intermediary. As a result, his music became less appealing to later generations.

2. Issues with Music Publishing

• Dispersal of Scores
  Dussekʼs works were widely published across Europe during his lifetime. However, music publishing at the time relied on physical printing and handwriting, lacking mass production and international distribution. This likely led to the dispersal or out-of-print status of his scores.

• Short-lived Publishers
  Many of the publishers that released Dussekʼs scores were small and short-lived, limiting the circulation of his scores during their existence. The closure of these publishers may have led to the disappearance of scores from the market.

• Lack of Reprints
  Dussekʼs works were not widely reprinted immediately after his death, reducing the opportunity for them to be passed on to the next generation.

3. Evolution of Piano Technology and Musical Perspectives

• Evolution of Instruments
  The pianos (fortepianos) of Dussekʼs time differed from modern pianos, with limited volume and expressiveness. His works were optimized for those instruments, and when played on later larger pianos, they may feel lacking.

• Advancement of Performance Techniques
  With the emergence of Chopin and Liszt, pianists began seeking more advanced techniques and dynamic expression, leading some performers to treat Dussekʼs music as “relics of the past.”

4. Dussekʼs Own Geographical Movements

• Dispersed Activity Bases
  Throughout his life, Dussek moved across various parts of Europe, never deeply rooting himself in a specific city or country. This may have prevented his music from establishing a long-lasting “base” of support in any particular region.

5. Bias in Later Music History

• Music History Focused on “Great Composers”
  From the late 19th century onward, the writing of music history increasingly centered around “great composers” like “Beethoven,” “Chopin,” and “Liszt.” Composers like Dussek, seen as “transitional” or “pioneers,” were often forgotten in history.

• Changes in Performance Practices
  Unlike the era when Dussekʼs works were actively performed, the 20th century saw a preference for works suited to larger concert halls, leading to a decline in performances of his music.

6. Modern Re-evaluation and Restoration of Scores

• Advancements in Musicology
  Since the late 20th century, there has been a re-evaluation of forgotten composers like Dussek. His works have been rediscovered, with scores being reissued and recordings made.
• Surviving Manuscripts and Publications
  Musicologists are continuing efforts to restore lost scores, allowing some of Dussekʼs works to see the light of day again.

Conclusion

The background to why Dussekʼs music was forgotten and some scores lost involves multiple factors, including changes in musical style, limitations of music publishing, evolution of instruments and performance techniques, and biases in music history. However, recent re-evaluations are gradually reviving his music, with his true value being recognized again, especially through performances on the fortepiano.

ChatGPT4o asked: “Did Salieri have any connection with Dussek?”

There is no clear record of direct interaction between Antonio Salieri (1750–1825) and Jan Ladislav Dussek (1760–1812). However, as contemporaries, both may have shared connections or influences within the European music scene. Below is an explanation of possible connections and backgrounds.

1. Activity Regions of Salieri and Dussek

• Salieri: He was active mainly in Vienna, composing many operas and religious music as a court conductor. He was also known as an educator, teaching many famous students (such as Schubert, Beethoven, and Liszt).
• Dussek: Dussek, originally from the Czech Republic, traveled throughout Europe, working in Paris, London, Germany, and the Netherlands. His activity in Vienna was limited, suggesting few direct connections with Salieri.

Dussekʼs presence in Vienna is not well-documented, making direct connections unlikely. However, considering the background of musicians exchanging works and ideas across Europe, indirect influences are possible.

2. Shared Musical Background

Salieri and Dussek may have shared the following musical elements in their careers:

• Influence of the Empfindsamer Stil: Dussekʼs music is based on the emotionally rich Empfindsamer Stil, and Salieriʼs operas and religious music also exhibit emotional expression. This style was a common musical language of the time, possibly shared by both.
• Influence of Haydn and Mozart: Both were strongly influenced by the music of Haydn and Mozart, with traces evident in their works. Dussek and Salieri can be said to have shared this musical foundation.

3. Music Publishing and Indirect Influence

Dussekʼs works were widely published in the regions where he was active, possibly known in Vienna. While Salieri did not primarily compose piano music, he may have heard Dussekʼs works through students or surrounding musicians.

4. Indirect Influence through Educational Activities

Salieri played an important role as an educator, teaching composition to many students, including Schubert. If Salieri knew Dussekʼs music, it might have indirectly influenced Schubert and other students through his educational activities.

5. Common Patrons and Musician Networks

In the European music world of the time, musicians often connected through common patrons or musician colleagues. Even without direct contact, Salieri and Dussek may have known each otherʼs works and reputations through such networks.

• For example, Dussekʼs reputation in London or Paris may have reached Vienna.

Conclusion

There is no definitive record of a direct relationship between Salieri and Dussek, but there are several overlapping points in their musical backgrounds and activity regions. Therefore, they may have indirectly influenced each other or shared common styles and expressions within the same musical culture. Additionally, Salieriʼs students in Vienna may have had opportunities to encounter Dussekʼs music.

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