Grove's dictionary of music and musicians

'
690 STEIN STEIN
A. W. Thayer' unearthed a record of Pastor
Junker, showing that Beethoven in 1791, when
residing at Bonn, always used an instrument of
Stein's.
Stein died in 1792, leaving two sons, Matthaus
Andreas and Friedrich (see below), and a
daughter, Maria Anna, known as Nannbttb,
who in 1794 married Streicher, and was really
the most prominent of the group.
Tliough Streicher ultimately succeeded to the
business, which had been removed from Augsburg
to Vienna, his name does not appear for several
years in connection ^vitll it. [See footnote to
Pianoforte, vol. iii. p. 725a, note 2.] The
firm as late as 1801 was 'Geschwister Stein' ;
subsequently Nanuette ' Stein ' only, which
appears as the maker's name on a grand pianoforte
with six pedals, existing (1882) in Windsor
Castle. For the continuation of the Stein
business see Streicher. a. j. h.
2. Maria Anna, or Nannette Stein, was
born Jan. 2, 1769, at Augsburg. When barely
eight she played to Mozart on his visit to
Augsburg in 1777, and, in spite of the bad
habits she had contracted, he said of her She
'
may do yet, for she has genius (Jahn, ' i. 368).
Her talent and capacity were so obvious that
her father early initiated her into the details of
his business, and on his death, Feb. 29, 1792,
she carried it on, in conjunction with her brother
Matthaus Andreas, with a decision and energy
almost masculine. In 1793 she married Johann
Andreas Streicher, an excellent pianist and
teacher from Stuttgart, and then she, her
husband, and mother, moved to Vienna. The
new firm of Nannette and Andreas ' Stein
(constituted by Imperial decree Jan. 17, 1794)
established itself in the 'Red Rose,' No. 301
in the Landstrasse suburb. In 1812 the factory
was removed to premises of their own, which
had been rebuilt and enlarged some years
before, No. 27 in the Ungargaase. In 1802
the brother and sister dissolved partnership,
each setting up for themselves, as 'Matthaus
Andreas Stein,' and 'Nannette Streiclier, geborene
Stein. ' Streicher, who had hitherto managed
only the commercial part of the business,
now took his full share of the work. Both firms
endeavoured to perfect their instruments in
every possible way,^ while still adhering to the
traditions of their father, and Stein of Vienna
became as celebrated as Stein of Augsburg had
been. In 1823 the Streichers took into partnership
their son Johann Baptist (born in Vienna,
1796). Nannette Streicher was at once an
energetic and capable woman of business, a
pianist of remarkable excellence, a person of
great general cultivation, and a model wife and
mother. Her name is closely connected with
that of Beethoven. It is well known that she
1 Beethoven, l! 209-215.
2 Prom this period dates the BO-called 'Viennese mechanism,' the
principle of which was really the same aa that of the Augsburg
pianos.
did much to help him in his domestic arrangements,
lightened the burden of his housekeeping,
and even looked after his bodily health.
Thayer, in his Beethoven (iii. 239), gives us a
striking picture of their relationship. [See also
vol. i. of this Dictionary, pp. 247, 248.]
Nannette Streicher died Jan. 10, 1838, and was
followed by her husband on May 25 of the
same year. The business was carried on successively
by their son, J. B. Streicher, and his
son, Emil. Her brother,
3. Matthaus Andreas Stein, was born at
Augsburg, Dec. 12, 1776, accompanied his sister
to Vienna, set up for himself in 1802, married
Nov. 12, 1796, and died May 6, 1842. His sou,
4. Karl Andreas, also a pianoforte-maker
and composer, was born in Vienna, Sept. 4, 1797,
early showed talent for music, and became an
excellent pianist and teacher. He was a pupil
of Forster in harmony and composition, and
published a considerable number of works
principally for his instrument. He also left in
MS., among others, two PF. concertos with
orchestra, two orchestral overtures, and a comic
opera 'Die goldene Gans,' words by Langbein.
He appeared several times in public, but latterly
devoted himself entirely to the factory, in the
working of which his father had early initiated
him. In 1829 a patent was granted to
him. Karl Andreas travelled much, and his
pianos were appreciated abroad, as well as by
the first artists of his own country. In 1844
he was appointed Court pianoforte-maker. His
book '
on the playing, tuning, and preservation
of Stein pianofortes,' ' contains valuable matter.
He died August 28, 1863. c. P. P.
5. His uncle, Friedrich, was born at Augsburg,
May 26, 1784, and at the age of ten went
to Vienna, and studied counterpoint and composition
with Albrechtsberger. He became one
of the first pianoforte-players of the capital, and
was considered to be a very promising composer.
He appeared rather frequently in the Augarten
andBurgtheater concerts as a player of concertos,
especially those of Mozart. Reichardt (April 1,
1809) calls him
'
: A performer of great power
and genius. ... A rare power, combined with
the deepest feeling, characterised his performance.
He played some of Beethoven's most
difficult pieces, and variations of his own composition,
full of invention and deep sentiment,
and of monstrous difliculty. Since then I bave
heard him at home on his magnificent Streicher
pianoforte, and am confirmed in my opinion of
his assiduous study and great talents.' These
eulogies are borne out by other contemporary
notices.
Friedrich Stein is the subject of Ries's anecdote
{Notizin, p. 115). Beethoven had played his
Concerto in G at his own concert, Dec. 22, 1808
(see vol. i. p. 244), with astonishing spirit and
3 Kwne BeTnerkungen H, d. Spielen, SCimmen, u. Erhalten d.
F. P., etc., Wien, 1801.