Prince Frederick Louis Christian "Ferdinand" of Prussia (German: Friedrich Ludwig Christian; 18 November 1772 – 10 October 1806), was a Prussian prince, soldier, composer and pianist. Prince Louis Ferdinand fought in the Napoleonic Wars.

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Piano Trio No. 3 in B-flat major, Op. 10 (c. 1805, publ. 1806)
Dedication: Princess Louise of Prussia (his sister)

I. Introduzione. Adagio cantabile — Molto allegro e con brio (0:00)
II. Larghetto sostenuto (11:55)
III. Rondo brilliante (18:41)

Horst Göbel, piano and the Joachim Quartett.

In 1803, at Magdeburg, Johann Ladislav Dussek became acquainted with Prince Louis Ferdinand of Prussia, with whom he lived for three years on terms of affectionate intimacy, to whom he gave advice both in pianoforte playing and composition, and whose premature death, on the field of Saalfeld, was the origin of the 'Elégie Harmonique' (op. 61), not only one of the finest works of Dussek, but one of the most pathetic and beautiful in the repertory of the piano. This was another turning-point in the somewhat tortuous life of our composer, and, for better or for worse, materially influenced his character. Much that is interesting with regard to the intercourse between Dussek and the Prince may be read in the 'Leipziger Musik-Zeitung' (1807); in Ludwig Rellstab's 'Reminiscences of Berlin Music,' in the 'Berlin Musik-Zeitung' (1850); and, most characteristic of all, in Spohr's 'Selbst-Biographie.'

In a review of the Elegy the 'Leipzig Musik-Zeitung' (1807, p. 741) says, among other things:—

'During the last few years of his (the Prince's) life, when he turned again to music with all the ardour of enthusiasm .... Dussek arrived at Berlin. The Prince had studied music in his youth, and never wholly neglected it, but his soul was now for the first time open to its hidden worth, to its higher and more spiritual value. He had need of a man who could aid him to express fully and correctly what he wished to convey through musical tones, who could enter into the spirit of what he created, afford him intellectual nourishment in productions suited to his taste and feelings, and lastly, away from their common art-study, prove an amiable and congenial companion. This he found in Dussek, who to the Prince was all in all, just as the Prince, in return, was to Dussek.'

A lively picture of how the three boon companions clubbed together follows the above:—

'Louis Ferdinand played a great deal with Dussek several compositions for two pianofortes, and others for four hands on one pianoforte, deriving their origin from the relations between the distinguished "virtuoso" and his gifted patron. Himmel was often their companion, he and Dussek were the Prince's favourite associates at the wine cup. What influence Dussek may have exerted upon the character of the Prince at these convivialities it is hard to say; but Himmel possessed that lively, joyous, good-natured, amiable view of life which as a rule is most welcome when intellectual brothers in art make the full glasses ring. Thus the Prince, Himmel, and Dussek, formed a musical triad, each exciting, enlivening, and fortifying the others, Dussek, in his artistic capacity, taking the foremost place.'

Spohr (Selbstbiog. i. 85), describing a soirée at the Prince's, in the course of a visit to Berlin early in 1805, remarks:—

'Here I also met an old Hamburg acquaintance, the celebrated pianoforte virtuoso and composer Dussek, now the Prince's teacher and residing with him. The music began with a pianoforte quartet, which was played by Dussek in real artistic perfection.'

In the autumn of the same year, when Prince Louis Ferdinand was at Magdeburg, superintending the military manœuvres, Spohr received, through Dussek, an invitation to be a guest and take part in the projected musical entertainments. His description of the early morning rehearsals is highly diverting—the end being raciest of all (Selbstb. i. 94). When the Prince was about to leave, Spohr was dismissed with hearty thanks, Dussek informing the young violinist that 'Son Altesse Royale' had intended to make him a present, but his finances were at so low an ebb that he was compelled to defer it to some future occasion. 'Such occasion, however,' observes Spohr, 'never arrived, the Prince next year meeting his fate at the battle of Saalfeld.'

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