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Grand Sextetto Anton Eberl

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Grand Sextetto Anton Eberl ANTON EBERL (1765-1807) GRAND SEXTETTO TRIO OP. 8 NO. 2 (B-flat major) from Trois Trios Pour le Piano-Forte, Violon et Violoncelle obligés (1798) 1. Allegro con brio 10:29 2. Andante 7:40 3. Rondo, Vivace assai 8:10 POTPOURRI EN TRIO OP. 44 (E-flat major) pour Pianoforte, Clarinette et Violoncello (1803) 4.1. Introduzione, Andante 1:12 4.2. Allegretto 2:05 4.3. Andantino aus Aline 2:17 4.4. Pastorale 6:22 GRAND SEXTETTO OP. 47 (E-flat major) pour Pianoforte, Violon, Alto, Violoncello, Clarinette et second Cor obligés (1800) 5. Adagio – Allegro Vivace 12:12 6. Andante molto 7:14 7. Menuetto, Vivace – Trio 3:20 8. Rondo, Vivace assai 8:10 TOTAL 69:15 TRIO VAN HENGEL was founded in 2001 and consists of clarinettist Nicole van Bruggen, fortepianist Anneke Veenhoff and cellist Thomas Pitt. The ensemble has committed itself intensively to rediscovering and per- forming repertoire from the late eighteenth and early nineteenth century. In its founding year, Trio Van Hengel was awarded three prizes in the International Van Wassenaer Competition and following this flying start has per- formed throughout Europe with a number of prominent concerts, including at the Holland Early Music Festival in Utrecht. Alongside their performances as trio, all three musicians have their own solo careers and have per- formed solo concertos in prestigious concert halls such as the Concertgebouw in Amsterdam, Vredenburg Utrecht and De Doelen in Rotterdam. They are members of some of the leading period instrument orchestras and opera companies and are active chamber musicians in a variety of ensembles. In 2006, the trio released its debut CD entitled: Anton Eberl, Grande Sonate and in 2010 they released Mozart, Phantasia, both with Ramée. 3 The recordings have been favourably received by the international press and the first Eberl CD awarded the highest accolade from the Dutch classical music magazine, Luister. Das TRIO VAN HENGEL wurde im Jahre 2001 gegründet und besteht aus der Klarinettistin Nicole van Bruggen, der Hammerklavierspezialistin Anneke Veenhoff und dem Cellisten Thomas Pitt. Das Ensemble widmet sich intensiv der Wiederentdeckung und Aufführung des Repertoires des späten 18. und frühen 19. Jahrhunderts. Im Jahr seiner Gründung gewann das Trio Van Hengel drei Preise beim internationalen Wettbewerb Van Wassenaer und trat in der Folge in ganz Europa zu zahlreichen prominenten Konzerten auf, u. a. auf dem Utrechter Oude Muziek Festival. Parallel zu ihrer Trio-Arbeit verfolgen die drei Musiker eigene Solokarrieren und sind als Solisten in renommierten Konzertsälen zu hören, wie z.B. dem Concertgebouw in Amsterdam, dem Musikzentrum Vredenburg in Utrecht und der Konzerthalle De Doelen in Rotterdam. Sie sind Mitglieder einiger der namhaftesten Orchester und Opernensembles, die mit historischen Instrumenten arbeiten, und sind außerdem als Kammermusiker in verschiedenen Ensembles aktiv. 2006 spielte das Trio beim Label Ramée seine erste CD, Anton Eberl, Grande Sonate, ein. 2010 folgte eine zweite Einspielung Mozart, Phantasia, ebenfalls bei Ramée. Beide Aufnahmen fanden großen Beifall in der internationalen Presse, und die Eberl gewidmete CD wurde von der Musikzeitschrift Luister mit der höchstmöglichen Note bewertet. Composé de la clarinettiste Nicole van Bruggen, de la pianofortiste Anneke Veenhoff et du violoncelliste Thomas Pitt, le TRIO VAN HENGEL est fondé en 2001. L'ensemble se consacre intensément à la redécouverte et à l'exécution du répertoire de la fin du XVIIIe siècle et du début du XIXe siècle. L'année de sa fondation, le Trio Van Hengel remporte trois prix lors du concours international Van Wassenaer ; il se produit ensuite à travers l'Europe à l'occasion de nombreux concerts importants, au festival Oude Muziek d'Utrecht entre autres. Parallèlement à leur travail en trio, les trois musiciens poursuivent leurs carrières solo et se produisent en solistes dans de presti- gieuses salles de concerts, telles que le Concertgebouw d'Amsterdam, le Vredenburg d'Utrecht et De Doelen à Rotterdam. Ils sont membres d'orchestres et de compagnies d'opéra sur instruments anciens parmi les plus importants et sont actifs comme chambristes dans différents ensembles. En 2006 paraît le premier CD du trio, Anton Eberl, Grande Sonate, puis Mozart, Phantasia en 2010, tous deux chez Ramée. Ces enregistrements ont été acclamés par la presse internationale et le CD consacré à Eberl a obtenu la récompense suprême accordée par le magazine musical néerlandais Luister. 4 TRIO VAN HENGEL NICOLE VAN BRUGGEN Clarinet Agnès Guéroult, Paris 2003, after Theodor Lotz, Vienna c. 1790 THOMAS PITT Cello Paul Harrild, Newark on Trent 1993, after Giuseppe Guarneri, 1710 Bow: John Dodd, London c. 1800 ANNEKE VEENHOFF Fortepiano Mathias Müller, Vienna c. 1810, For this recording TRIO VAN HENGEL was kindly joined by: ALIDA SCHAT Violin George Panormo, London late 18th century Bow: Kees van Hemert, Den Haag 2003 VAPPU HELASVUO Viola Bernard Viedenhofer, Pest 1794 Bow: Jean-François Raffin, Paris 2006 BART AERBEYDT Cor-Solo Jahn, Paris 1818 5 of music itself – as much on musical form and instru- ANTON EBERL ment choice as on the inexorable evolution of com- position towards a romanticism of which Eberl can During the second half of the 18th century, new be seen as a true pioneer. potential sources of income made it possible for musicians to disengage themselves from the grip of Eberl's first teachers were probably Josef Anton their traditional employers, and attain the level of Steffan or Christoph Wagenseil, and then Leopold respectable citizen. The new musical patrons came Kozeluch from the age of 13. It appears unlikely that principally from the emerging, prosperous middle he received any formal instruction from Mozart, as class, assuming the aristocracy's role of endorsing Eberl's name never appears in any of his surviving let- serious and learned music, and supporting the ters. Eberl gave his first private recital in Vienna when careers of certain favoured musicians. They attended he was seven or eight years old. In contrast to the the increasingly frequent public concerts, and played child prodigy Mozart, Eberl's precocious musical music themselves within their domestic confines – a talent was not encouraged by his father. The young musical education was itself evidence of sophistica- Anton could only devote himself exclusively to music tion. It was this new public that lent both performers when his father was declared bankrupt in 1783, and and composers a new status, one that accompanied could no longer afford his son's studies in law – the them through the transition from artisan to true artist career he had decided Anton would pursue. He chose in the romantic sense, and finally liberated them from the theatre as the first domain in which to distinguish the constraints of an employer able to impose upon himself. This choice reveals not only the view he held their inspiration, freeing their creative genius from all about the musician's profession, but also the influ- obstacles to expression. ence which the theatre had on his contemporaries. A distinct change can be discerned here from the 1760s Anton Eberl is a perfect example of a composer onwards in favour of more entertaining genres – affected by the changes occurring during the last Italian opera buffa, French opéra comique (which had decades of the 18th and the beginning of the 19th cen- become clear favourites by the end of the century), turies, especially in Vienna. He clearly illustrates the and German Singspiel. An examination of the inven- range of services a musician had to develop in order tory of Eberl's surviving music reveals an important to ensure an autonomous livelihood, the changes the body of theatrical composition, starting at the very musical world imposed on the image of musicians, beginning of his career: a series of nine works, of and the effect of these influences on the production which only the titles have come down to us, includes 6 his first comic opera Les Bohémiennes of 1781, and, so much so, in fact, that the authorship of several of above all, the Singspiel Die Marchande des Modes of them was attributed to Mozart himself. The years 1783, which drew Gluck's praise. Anton at times spent in Russia (1796-1802) clearly formed a key engaged the talents of his brother Ferdinand (1762- episode in his maturation as a composer: he emanci- 1805), whose most famous libretto was created for pated himself once and for all from the Mozartian Dittersdorf's opera Betrug durch Aberglauben of 1786. style, systematically explored many areas of instru- mental expression, and gathered much experience as Eberl is not remembered as an opera-composer, a composer, teacher and performer. Only after his and perhaps his inability to break into the theatrical definitive return to Vienna did he reach the pinnacle milieu prompted him to abandon this course. It was of his glory. in the Burgtheater that Eberl organised 'Academies', concerts during which he presented himself to the Most of Eberl's fifty or so printed works were Viennese public, and where, on March the 9th, 1784 published in Vienna during the last decade of his life. (before he turned 19), he had his two first newly- They are almost exclusively instrumental works, usu- composed symphonies performed. The programming ally based around a fortepiano: nine sonatas, seven for these concerts was usually largely concertante and series of variations, and about ten other pieces (some symphonic music: it wouldn't be until the beginning of which call for great virtuosity); three concertos of the 19th century that chamber music would be pre- (one of which is for two pianos), five symphonies, sented in public in Vienna. Eberl is also mentioned in and numerous pieces of chamber music – written for connection with a programme presented in the between two and six instruments (all but the three Kärnertortheater on December the 29th, 1794, where string quartets, Op.
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