The 6 Piano Sonatinas, Op. 20 (Six Sonatinas for the Pianoforte) by Jan Ladislav Dussek (1760 – 1812) were composed in the early 1790s and first published in London in 1793 by Longman & Broderip. They are among Dussek’s most enduring works for the keyboard, written in the Classical style and designed primarily for educational and domestic use.

Although often overshadowed by his larger-scale piano sonatas, the Sonatinas, Op. 20 show Dussek’s lyrical touch, refined phrasing, and clear sense of Classical proportion, making them an important contribution to the early piano pedagogy repertoire of the late eighteenth century.

Background

By the early 1790s, Dussek was living in London and enjoying a flourishing reputation as both pianist and composer. The city’s growing middle class had created a strong demand for music suitable for amateur performance, particularly short sonatas and sonatinas intended for teaching.

Dussek’s Op. 20 set fits precisely into this context. While technically modest, the pieces embody the elegant phrasing, harmonic inventiveness, and expressive charm characteristic of his mature style. They were probably composed for students and pupils in his London circle and circulated widely through English publishers such as Longman & Broderip and Clementi & Co.

Structure

Each sonatina follows a clear, two-movement Classical design, typical of late-18th-century pedagogical keyboard writing.

1. Sonatina No. 1 in G major, C. 88 – I. Allegro non tanto; II. Rondo (Allegretto, Tempo di minuetto).

2. Sonatina No. 2 in C major, C. 89 – I. Allegro moderato; II. Rondo (Allegro).

3. Sonatina No. 3 in F major, C. 90 – I. Allegro; II. Rondo (Allegretto).

4. Sonatina No. 4 in A major, C. 91 – I. Allegro con spirito; II. Rondo (Allegro grazioso).

5. Sonatina No. 5 in C major, C. 92 – I. Allegro non tanto; II. Rondo (Allegretto).

6. Sonatina No. 6 in E-flat major, C. 93 – I. Allegro moderato; II. Rondo (Allegro ma non troppo).

Typical performance times range from 6 to 10 minutes per sonatina.

Style and analysis

The Op. 20 sonatinas are firmly rooted in Classical formal conventions, resembling the pedagogical works of Clementi and Kuhlau, but with Dussek’s distinctive melodic grace and harmonic color. His writing for the pianoforte reflects an awareness of the instrument’s singing tone, with frequent use of lyrical right-hand melodies over gently patterned left-hand accompaniments.

While technically accessible, the pieces demand control of articulation, phrasing, and dynamic shading, qualities central to late-Classical keyboard style. They also foreshadow the expressive Romantic lyricism of Dussek’s later sonatas.

Reception and legacy

The Sonatinas, Op. 20 quickly became popular with teachers and students, maintaining a place in piano pedagogy throughout the nineteenth century. They are often included in intermediate-level syllabi for their clarity of structure and stylistic elegance.

Musicologists have noted that Dussek’s sonatinas demonstrate many features that anticipate the piano style of later composers such as Schubert and Field, notably his lyrical phrasing, frequent modulation, and expressive cantabile lines.