Daniel STEIBELT (1765-1823)
Rondo ‘Les Papillons’ [8:39]
Fantaisie and Variations on two Russian themes [17:05]
Piano Sonata in G major, Op.64 [41:32]
Rondo ‘L’Orage’ [9:02]
Anna Petrova-Forster (piano)
rec. 28 February-2 March 2015
private studio, Pfäffikon, Switzerland
FORGOTTEN RECORDS FR32P [76:14]
Credit must be given to the Russian-born pianist Anna Petrova-Forster
for her enthusiastic and potent advocacy of the little-known German composer
Daniel Steibelt. Up until receiving this CD, I had never come across his name.
Not much of his music has been recorded, but a few years ago the Bulgarian
label Gega issued a CD of solo piano music, consisting of two sonatas, some
etudes and a concerto for solo piano, again featuring this pianist. It is
still available. Hyperion have also been in on the act with a volume of three
of his piano concertos in their ‘Classical Piano Concerto’ series,
played by Howard Shelley, who also directs the Ulster Orchestra (review).
This latest release from Forgotten Records is timed to coincide with the 250th
anniversary of the composer’s birth.
Steibelt was born in Berlin of a German father who manufactured keyboards
and a French mother. He studied composition with Johann Kirnberger (1721-1783).
He made his mark as a travelling virtuoso, touring the cities of Europe and
ending up in St. Petersburg, where he died. Along the way he composed operas,
ballets, concertos, chamber and instrumental music and solo piano music. Much
of it has faded into obscurity, and of the facts about his life, the notorious
piano duel he had with Beethoven in Vienna in 1800 has gained a certain amount
of anecdotal mileage.
Of the four works featured here the most substantial is the G major Sonata,
Op. 64, which boasts an eighteen minute opening movement, marked ‘Cantabile’.
Its character is notably operatic, and ends with an impressive cadenza, calling
upon the virtuosic skills of the performer. A brief three minute Tempo
di minuetto precedes a lengthy Adagio which has an improvisatory
feel. A graceful Pastorale closes the work. The Fantaisie and
Variations on two Russian themes, another large-scale piece, gives the
pianist an opportunity to showcase not only her manual dexterity, but her
imagination in characterizing the florid and coruscating variations.
Two shorter works bookend the disc. Rondo ‘Les Papillons’
evokes the delicate flutterings of butterflies. Petrova-Forster’s glistening,
diaphanous finger-work is superbly executed. The easy-going lyrical disposition
and cascading notes of Rondo ‘L’Orage’ are probably
an indication of the popularity of the piece and its success during the composer’s
lifetime.
The Steinway piano used has been expertly voiced and has a warm, radiant tone.
The acoustic of the Swiss studio confers an ambience of intimacy. I must commend
Olivier Feignier on his well-written, detailed annotations, here supplied
in French and English.
Having listened to the recording several times, I cannot share the enthusiasm
of John France in his Hyperion review or Jonathan Woolf, who has also reviewed
this particular CD. I find Steibelt’s music generally unmemorable and
musically verbose at times. I share Mr France's sentiments
when he speaks of the music as ‘dominated by note-spinning’. The
music of Ferdinand Ries, a near contemporary, has a similar effect on me.
Stephen Greenbank
Previous review: Jonathan
Woolf
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