Fritz Steinegger
Piano Favorites - Fritz Steinegger
© 2006 Fritz Steinegger (634479063657)
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Concert pianist performing several all-time favorite works including Mozart's Turkish Rondo, Beethoven's Pathetique Sonata, Bach's Toccata in C-minor, Chopin's Fantasie-Impromptu, Schubert's Impromptu in Eb and the gorgeous Grieg Notturno
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FRITZ STEINEGGER -- a native of Phoenix, Arizona --
studied in New York with Wolfgang Rose, at the
Akademie in Vienna with Ludwig Czaczkes, and at the
Conservatoire in Geneva with Nikita Magaloff.
A prize-winner at the International Casella
Competition, he went on to play recital tours of
Europe, appearing as soloist with such leading
ensembles as the Orchestre de la Suisse Romande, the
Radio Cologne Orchestra, and the Scarlatti Orchestra
of Naples.
Steinegger's recent activities have been centered in
Latin America, where he concertizes widely, from
Mexico to Argentina. Mexico City´s leading newspaper,
Novedades, recently hailed him as "something quite
different: a free spirit in the world of classical music".
This recording was made possible by a grant from the Ann & Gordon Getty Foundation.
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There is nothing ordinary about Fritz Steinegger's performances.
author: Thomas TurnerThere is nothing ordinary about Fritz Steinegger's performances. In the Schubert Impromptu, the long strands of notes, like strings of pearls, radiate, each with its own unique hue, while at the same time fitting in to a perfectly formed line. By contrast, in the Fantaisie-Impromptu the chains of notes are released in waves. The Bach is likewise very satisfying, an ideal combination of technical mastery and consummate artistry and, most impressively, clarity of musical texture. The Mozart Rondo is played as though the pianist had never even heard lesser performances. There are no exaggerated accents here, in fact, the whole performance has a lyrical urgency about it that makes it sound like it was actually written by Mozart, instead of, as many performances suggest, some heavy-handed amateur. Steinegger knows how to tease with the occasional understatement, but it is always a compelling understatement. Instead of the usual crescendo on ascending notes, he might draw the listener into the music even more by making a decrescendo where it is delightfully unanticipated. Steinegger's recordings also illustrate what a vital musical culture there is in Mexico today. Nobody should pass them up.