Search - Antonio Salieri, Joseph Anton Steffan, Andreas Staier :: Salieri / Steffan: Concertos for Fortepiano - Andeas Staier / Concerto Köln

The importance of context

Jonathan J. Casey | the twin cities | 12/02/2000

(4 out of 5 stars)

"The first two concertos here are by the now infamous Antonio Salieri, and while the B flat work seems to support the notion that he was no match for Mozart when it came to instrumental music, the C major concerto is a much greater work that even Salieri gave himself credit for. The Larghetto is beautiful and more moving than you might expect from a composer known for his mediocrity. Much of the orchestral accompaniment is a tasteful pizzicato strum, and Staier provides his own excellent candenza with the dampers on to provide a soft, ghostly touch. If you're not familiar with the sound of a fortepiano this wouldn't be a bad introduction. While it lacks some of the character of an original instrument, Staier's copy by Monika May of a c.1785 Walter has excellent, crisp (and well-tuned) treble and a big, reedy bass sound. The Andantino of this and the opening movement of the next Salieri concerto feature numerous colorful embellishments on the part of Concerto Köln, always a strong group. Despite the fine playing, though, which most effectively argues in favor of the C major work, Salieri's other effort in the genre doesn't have as much going for it. The minuet finale is light and pleasing enough and features a very bouncy bass line in the piano.Steffan was a Bohemian respected for his keyboard composition and performance, much like Dussek but less tempestuous and ultimately less-appreciated. Failing eyesight virtually ended his career in 1775, but he did continue to write and this B flat piano concerto came between the years 1780-1790. It begins with a slow introduction in D minor, the first statement by the piano coming in after only 20 seconds. Very much worth hearing. The Allegro is a model of the Classical Viennese style. Cadenzas are the composer's, and while there are few surprises after the introduction, it is a fine addition to the canon and the finale is very energetic. Again the performance and recording are ideal, and while it's unlikely that we'll see a Steffan craze anytime soon, those interested in the music going on around Mozart would do well to listen to this CD. Piano aficionados should also look into Robert Hill's "Stepan - Music for Fortepiano" (MDG 620 0870-2). The liner notes to this Salieri/Steffan CD state that Steffan's contributions to Classicism have yet to be assesed. Listen for yourselves."