Jan Ladislav Dussek, Lord Howe's Favorite Hornpipe: Historical Context

Perception of Bohemia and Prague during Dussek’s lifetime in the mid-late 18th century was not necessarily positive. Between 1750 and 1850, a large influx of middle-class, university-educated German travelers came to Prague and other notable cities in Bohemia. Their main perceptions were that Bohemia was an antiquated, deeply-religious, and historically war-stricken place. Many of these perceptions went against the Enlightenment ideals of the time. These views were largely shared by other Western Europeans, whose artistic preferences favored a well-educated, cosmopolitan demeanor and sound from composers. As a result, it was very common for composers to take grand tours to different European cities and courts, establish international connections, and take on the roles of composer, conductor, performer, and teacher all at once. This and other factors made it necessary for Dussek to leave Bohemia in order to build his career.

Dussek’s touring took him to many places across Western Europe, including Hamburg, Dresden, Paris, Amsterdam, and London. One of his most notable residencies took place from 1786 to 1789 in Paris, where Dussek caught the attention of French Queen Marie Antoinette. Dussek later dedicated some pieces, albeit with macabre subject matter, to her, such as his pianoforte composition La mort de Marie Antoinette Op. 23 (1793). Undoubtedly Dussek leaving Paris in 1789 was a wise idea, considering the chaos and bloodshed which would befall France in the coming years.

After departing France, Dussek spent the 1790’s and early 1800’s in London as a teacher, composer, conductor, and music publisher. During the 1790’s, England and its monarchs were reeling from the commotion caused by the French Revolution, as well as tensions between them and the newly independent United States of America. The French Revolution had a ripple effect on nations throughout Europe, and monarchs grew fearful and insecure about their power being taken away by an angry public. Through the Regency period in England a sense of nationalism began to grow, catalyzed by political, economic, and social change due to the Napoleonic Wars. The English were far from unique in this; the cosmopolitan Europe that Dussek’s generation of composers thrived on was gradually fading in favor of solidifying a given country’s sense of national heritage. This can be seen in Dussek’s output in England. He wrote many pianoforte settings of English traditional themes and folk tunes, as well as pieces commemorating contemporary English military achievements. Though he would eventually leave in favor of escaping financial issues and touring, Dussek’s legacy today is firmly tied to England.