Sonata, pf/hpd, vn/Ger. fl acc., op.1 (London, c1793);
3 Sonates, hpd/pf, vn acc., op.1 (Paris, n.d.);
Sonata, pf (London, c1805)
3 Sonatas, E , F, C (London and Edinburgh, c1795);
3 Sonatas, B , G, c, op.2 (Paris, 1797; London and Edinburgh, ?1798);
6 Sonatinas, C, F, G, B , F, E (London, 1799), formerly attrib. (2) J.L. Dussek, ed. in MAB, xxii (1956);
Introduction and March (London, 1822);
Variations on God Save the King (London, 1822);
6 bks of Favorite Airs (London);
arrs., some with variations, of more than 30 airs, waltzes, rondos, ovs. and concs., some with fl/vn ad lib
A Duett (London, ?1812);
Introduction and Waltz (London, 1822);
Duett … in which is Introduced a Favorite Air [Ah vous dirai-je], with variations and an introduction (London, 1823);
The beauty of the music itself led to the attribution to Jan Ladislav rather than to Sophia, who was undoubtedly the author. Already in these first sonatas one can find the typical characteristics of her music: the brilliance and freshness of her writing, the originality of many passages, and a great sense of proportion which insures that no theme—even the least original—wearies the listener. There is no evidence of presumption, vanity or desire for grandeur on the part of Sophia; there instead emerges a desire to sing and make music simply and sincerely, and this humility deserves our admiration. After the early pieces of her youth, there is no trace of other works by Sophia for almost 10 years. Busy as she was at supporting herself, she perhaps had little time for composing, but she took up this activity with renewed energy in 1810. Her second marriage and her teaching gave her greater serenity, assisted her in the search for new publishers, and allowed her to produce around 60 works between 1810 and 1828. These pieces no longer have the rigorous form of the first sonatas and are more experimental, a fact which is comprehensible considering the rapid change in tastes and the evolution of the harp at that time. “A Favourite French Air With Variations” (1818), dedicated to the celebrated harpist Nicolas C. Bochsa who had arrived that same year in London, experiments with harmonics and damping techniques, and ends with an unpublished finale. “Introduction & Waltz” (from 1821) combines the infectious charm of a reel (although it is not a traditional theme) with brilliant glissati. “La Chasse”, dated 1824, explores the enharmonic possibilities of the harp. “C’est l’amour” (1825) winds irresistible variations around a theme of an operatic character.
Gaudiu i compartiu!