The new focus on Bohemian classicism in the second half of the 18th century, manifested in recent recordings and articles in professional journals, has amply demonstrated the calibre of these composers and the quality of their music. Among them, Josef Mysliveček enjoyed considerable fame during his lifetime. He was known to such important figures as the soprano Caterina Gabrielli and was a friend of Mozart’s, who esteemed him.

Mysliveček like many of his contemporaries strove for musical success and economic independence through opera composition, a career that was high-profile but also challenging in the late 18th century. And he did not consider the fortepiano to be as important a vehicle of expression, unlike Mozart, as can be seen in his meagre solo keyboard output.

The Six Divertimenti are single-movement compositions, and while probably intended as didactic, they are not sterile exercises for amateurs but exquisite pieces that satisfy the most discerning palates. The Six Sonatas are short but brilliant pieces, based on the galant style transmuted into a pre-classicism very akin to the Mannheim school, with energetic first movements with a symphonic flavour alternating with elegant and delicate minuets.

Given the small number of Mysliveček’s compositions for solo fortepiano, it was decided to include two additional, rare pieces worthy of this monograph: two of his Wind Octets, op.1, in a contemporary solo keyboard transcription by Václav Vincenc Mašek. Mysliveček’s writing features remarkable counterpoint, compressed by Mašek into an exemplary arrangement.