Joseph Anton Steffan: Concerto for Fortepiano & Orchestra in B flat major, Andreas Staier скачать в хорошем качестве

Joseph Anton Steffan: Concerto for Fortepiano & Orchestra in B flat major, Andreas Staier

Joseph Anton Steffan (Josef Antonín Štěpán) - Concerto for Fortepiano & Orchestra in B flat major, Andreas Staier (fortepiano), Concerto Köln 1. Adagio non molto – Allegro – 00:00 2. Andante non molto – 13:22 3. Allegro – 21:17 Joseph Anton Steffan ( March 1726 – April 1797), was a Bohemian-Austrian classical era composer and harpsichordist. Štěpán was born in Kopidlno, near Hradec Králové, Bohemia, in March 1726. His musical gifts were probably first nurtured by his father, who was organist and schoolmaster in Kopidlno. When the Prussian army invaded Bohemia in 1741, the boy fled to Vienna, where he sought the patronage of the lord of the Kopidlno estate, Count František Jindřich Šlik [Franz Heinrich Schlick]. He received instruction in violin from Hammel, his patron’s Kapellmeist, whom he later succeeded, and in harpsichord and composition from G.C. Wagenseil, the court composer. Štěpán distinguished himself as a gifted composer and as one of the most brilliant harpsichordists in Vienna. He enjoyed a considerable reputation as a teacher, and throughout his career composed didactic pieces. On 14 July 1766 he was appointed Klaviermeister for the young archduchesses Maria Carolina (later Queen of Naples) and Maria Antonia (later Queen of France), remaining active at the court until 1775 when he contracted an eye disease which left him almost blind. In subsequent years he taught privately and composed. He died in Vienna in April 1797. Steffan was a major figure in the development of the Classical style. His works influenced a large number of contemporaries, including Joseph Haydn (1732–1809), Jan Křtitel Vaňhal (1739–1813), Leopold Koželuh (1747–1818), and Wolfgang Amadeus Mozart (1756-1791). The foundation for his music is his detailed knowledge of counterpoint and thoroughbass (figured bass) practice, as well as the influences that he drew on from Italian music and the gallant style. In his late works, he even displayed a Pre-Romantic style. It is thus difficult to understand how, in spite of the fame achieved in his own lifetime and his role as a major figure in the development of the Classical style, he is a nearly forgotten figure.