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Daniel Steibelt

All Compositions

Compositions for: Violin

#Arrangements for: Violin
#Parts for: Violin
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2 Piano Trios, Op.33 Liv.33 Piano Quintets3 Sonatas, Op.23 Sonatas, Op.353 Sonatas, Op.373 Sonatas, Op.383 Sonatas, Op.393 Sonatas, Op.43 Sonatas, Op.563 Sonatas, Op.753 String Quartets3 String Quartets, Op.173 Violin Sonatas3 Violin Sonatas, Op.264 Sonatas d'un difficulté progressive, Op.33 Liv.16 Sonatas, Op.116 String Quartets, Op.346 Violin Sonatas, Op.27


A me tutte le belle


Combat naval, Op.36


Ouverture Turque, Op.7


Piano Quartet in A major, Op.51


Sonata in E-flat major, Op.59


Variations on 'Enfant cheri des Dames', Op.32Violin Sonata in B-flat major, Op.30Violin Sonata in B-flat major, Op.81Violin Sonata in E minor, Op.32Violin Sonata in E minor, Op.74 No.3Violin Sonata in E-flat major, Op.74 No.1Violin Sonata in G minor, Op.69

Arrangements for: Violin

3 SonatasPiano Sonata in C majorRoméo et Juliette

Parts for: Violin

2 Piano Trios, Op.33 Liv.33 Piano Quintets3 Sonatas, Op.373 String Quartets3 String Quartets, Op.17Combat naval, Op.36Ouverture Turque, Op.7Piano Concerto No.3 in E major, Op.33Piano Concerto No.4 in E-flat majorRoméo et JulietteVariations on 'Enfant cheri des Dames', Op.32
Daniel Gottlieb Steibelt (October 22, 1765 – September 20 [O.S. September 8] 1823) was a German pianist and composer. His main works were composed in Paris and in London, and he died in Saint Petersburg, Russia.
Steibelt was born in Berlin, and studied music with Johann Kirnberger before being forced by his father to join the Prussian Army. Deserting, he began a nomadic career as a pianist before settling in 1790 in Paris, where he attained great popularity as a virtuoso as the result of a piano sonata called La Coquette, which he composed for Marie Antoinette. Also in Paris, his dramatic opera entitled Romeo et Juliette, which was later highly regarded by Hector Berlioz, was produced at the Théâtre Feydeau in 1793. This is held by many to be his most original and artistically successful composition.
Steibelt began to share his time between Paris and London, where his piano-playing attracted great attention. In 1797 he played in a concert of J. P. Salamon. In 1798 he produced his Concerto No. 3 in E containing a Storm Rondo characterized by extensive tremolos, which became very popular. In the following year Steibelt started on a professional tour in Germany; and, after playing with some success in Hamburg, Berlin, Dresden, and Prague, he arrived at the end of March 1800 at Vienna, where he is reported to have challenged Beethoven to a trial of skill at the house of Count Moritz von Fries. The oft-quoted account by Ferdinand Ries was written 37 years later; Ries did not attend it and became only later a student and friend of Beethoven. Ries describes how Beethoven carried the day by improvising at length on a theme taken from the cello part of a new Steibelt piece, placed upside down on the music rack. Reportedly, Steibelt stormed out of the room, never to set foot in Vienna again. Ries' account, however, contains two factual errors.
Following this supposed public humiliation Steibelt ended his tour. (The date of his departure from Vienna is not known, while Beethoven did leave Vienna at the end of April or beginning of May: he played in Buda, Hungary, on 7 May.) Steibelt went again to Paris, where he organised the first performance of Joseph Haydn's oratorio The Creation, which took place on 24 December 1800 at the Opera House. On his way to it, the First Consul Bonaparte narrowly escaped a bomb attack. Steibelt had just published one of his most accomplished sonatas, which he had dedicated to Bonaparte's wife, Josephine. After a second stay in England from March 1802 to March 1805, Steibelt returned to the continent, gave concerts in Brussels (April 1805), and was back in Paris in Summer. He celebrated Napoleon's triumph at Austerlitz with a Musical Interlude named La Fête de Mars, whose première was attended by Napoleon in person (4 February 1806).
In 1808 he was invited by Tsar Alexander I to Saint Petersburg, succeeding François-Adrien Boieldieu as director of the French Opera in 1811. He remained there for the rest of his life. In 1812, he composed The Conflagration of Moscow, a grand fantasy for piano dedicated to the Russian nation. Steibelt generally ceased performing in 1814, but returned to the platform for his Concerto No. 8, which was premiered on March 16, 1820, in Saint Petersburg, and is notable for its choral finale. This was four years before Beethoven's unconventional Symphony No. 9, and was the only piano concerto ever written (excluding Beethoven's Choral Fantasy) with a part for a chorus until Henri Herz's 6th concerto, Op. 192 (1858) and Ferruccio Busoni's Piano Concerto (1904). Steibelt died in Saint Petersburg on September 20, 1823, following a prolonged illness.
Besides his dramatic music, Steibelt left behind him an enormous number of compositions, mostly for the piano. His playing was said to be brilliant, though lacking the higher qualities which characterized that of such contemporaries as Cramer and Muzio Clementi. Despite this, his playing and compositional skills enabled him to build a career across Europe. Grove describes him as "extraordinarily vain, arrogant, discourteous, recklessly extravagant and even dishonest." Such harsh moral judgements are justified by some of the facts of Steibelt's life as they have come down to us. These and similar attacks on his character must be viewed with caution if a correct image of Steibelt's personality is to be reconstructed.
At his best Steibelt was an imaginative composer with strong individuality. His operas Cendrillon (1810) and Romeo et Juliette (1793), all his piano concerti, his chamber music, a selection of his numerous sonatas (e.g. Op. 45 in E-flat and Op. 64 in G) and some piano pieces (caprices and preludes, studies Op. 78) are of a sufficient musical worth to be performed and enjoyed today.
1) Stage
2) Orchestral
3) Chamber
4) Methode de Pianoforte (1805)
5) Songs