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4250128506014.Pdf Anton Franz Joseph Eberl Grande Sonate CHAMBER MUSIC FOR FORTEPIANO, CLARINET AND VIOLONCELLO KAMMERMUSIK FÜR FORTEPIANO, KLARINETTE UND VIOLONCELLO MUSIQUE DE CHAMBRE POUR PIANOFORTE, CLARINETTE ET VIOLONCELLE TRIO IN E FLAT MAJOR OP. 36 (1806) Grand Trio pour le Pianoforte, Clarinette ou violon et Violoncelle 1. Andante maestoso – Allegro con spirito 10:46 2. Adagio non troppo ma con espressione 6:57 3. Scherzo. Molto vivace 2:34 4. Allegretto 7:23 SONATA IN B FLAT MAJOR OP. 10 NO.2 (1800) Grande Sonate pour le clavecin ou Fortepiano accompagnée d'une Clarinette ou Violon obligé et d'une Basse ad libitum 5. Allegro spirituoso 10:43 6. Romance. Andante espressivo 4:03 7. Rondo. Allegretto 7:04 QUINTET IN G MINOR OP. 41 (1806/7) Grand Quintetto pour Pianoforte, Clarinette, deux Altos et Violoncello obligés 8. Allegro con fuoco 9:55 9. Adagio ma non troppo 6:47 10. Finale 7:26 TOTAL 73:54 As well as being considered equal to, or even ANTON EBERL – »FULL OF SPIRIT, AND DEEPLY FELT« better than, Beethoven, Eberl was apparently so well received that his works could pass as being composed »In a new, grandly conceived and deeply emotive by Mozart. Eberl's Piano Sonata, op. 1, for example, Symphony in D by Eberl, this composer demonstrates was published many times as Mozart's last great a poignant ardour, strong pathos and the art of con- sonata. The reason so many works by Eberl came to be trolling energetic and boundless creativity with delib- published under Mozart's name is unknown. A note erate strength. […] Since the symphonies of Mozart, by Aloys Fuchs on the manuscript of one of Eberl's Haydn and Beethoven, really nothing in this category Lieder reveals that there was no protest from Mozart has appeared which, as this one, could be honourably against the use of his name on Eberl's compositions. placed by their side.« The piano variations on Zu Steffen sprach im Traume, which Mozart liked to use for teaching purposes, were The author of this review in the Berlinische published no fewer than fourteen times under Musikalische Zeitung of 2nd May 1805, about perform- Mozart's name, and never under Eberl's! It was only ances of Beethoven's new Symphony in E flat (Eroica) many years after Mozart's death that Eberl dared to and the D minor Symphony by the Viennese com- complain about it. In the Hamburgische Unparteiische poser and pianist Anton Eberl, clearly preferred Eberl's Correspondenz he wrote »For however flattering it may work to that of Beethoven, which he thought »for the be for me that even connoisseurs were capable of most part so whimsical and confused, that only those judging these works to be the products of Mozart, I who idolise the mistakes and preferences of this com- can in no way allow the musical public to be kept poser with equal and at times ridiculous ardour, could under this delusion«. Even after this announcement appreciate it.« Eberl's symphonies and concertos were many publishers persisted in confusing the work of the favourably compared, both by the audiences and the two men. According to Constanze Mozart, publishers critics in Vienna and other important musical centres, could excuse themselves by urging that the works had with those of Haydn, Mozart and Beethoven, and been accepted as Mozart's. many contemporaries expressed their admiration for his work, among them Gluck and Haydn. Beethoven's If Anton Eberl was indeed the great composer friend and biographer Anton Schindler wrote that that emerges from these contemporary accounts, how Eberl was a pianist of a comparable stature to is it that he became so completely forgotten? At least Beethoven and called him »a dangerous rival of two factors seem to have contributed: Firstly, Eberl Beethoven as a composer for piano and orchestra«. sought new ways to develop the Classical style into a 3 more Romantic idiom. This Romantic language and Haydn was thirty-three, Mozart was nine, and distinctive sound-world was revolutionary at the time, Beethoven was yet to be born, five years later. Unlike and certainly one of the reasons why Eberl was so pop- this triumvirate of Viennese Classicism, Eberl was ular among both critics and audiences. Other com- native to Vienna. At seven he was already performing posers, such as Beethoven, continued to use the lan- as a pianist in private concerts, but at his father's insti- guage of Classicism until much later, further maturing gation he went on to study law. Only after his father's this musical style. After Eberl's early death, Beethoven bankruptcy around 1783, after which he could no lived another twenty years and it was in this period that longer afford the tuition fees, was Eberl given the Beethoven enjoyed his most significant triumphs. But opportunity to embark on a musical career. As a stu- Eberl contributed greatly in the change of style and dent, without any training in composition, he wrote hereby opened doors for the later Romantic com- his first comic opera, Les Bohémiens (1781), several posers such as Schubert and Mendelssohn. Secondly, piano works and, between 1783 and 1785, three sym- and perhaps most importantly, there is a technical phonies. After his final decision to pursue music he explanation as to why Eberl's often extremely complex very probably studied with Mozart who had been music was never rediscovered in the twentieth century. living in Vienna since 1781. They became good friends It is very difficult to render a satisfactory performance and several of Eberl's compositions, mainly variations on modern instruments. Eberl's style, which combines for piano, were found in Mozart's estate. After the lightness of Classical music with the melodious- Mozart's death, Eberl composed a cantata, Bey ness of Romanticism, is much easier to understand Mozarts Grab (At Mozart's Grave) which was never when played on original instruments. Eberl makes performed. Further evidence of Eberl's intimate rela- perfect use of the characteristics and »unevenness« of tionship with Mozart's family is his European tour in the early nineteenth century instruments, such as the 1795 and 1796, together with Mozart's widow and her chromatic colouring of the clarinet and the different sister, the singers Constanze and Aloysia Weber. registers of the fortepiano and the cello, a quality which becomes lost when played on the more »even« Apart from his work as piano virtuoso and com- modern instruments. A similar fate was given to the poser, Eberl wrote theatre music and Singspiele, music of the transitional period before the Classical inspired by his brother, Ferdinand Eberl, who was a era, such as the compositions of the Bach sons. playwright. Almost all of these works are lost. After his marriage with Anna Maria Scheffler in 1796 it seems ANTON FRANZ JOSEPH EBERL was born into a that he lost confidence in a future career in Vienna, wealthy official's family on 13th June 1765. At the time, and he and his new wife left for St. Petersburg. In this 4 flourishing cultural atmosphere of the tsarist court – At the time of his sudden death from scarlet fever which was strongly oriented towards western Europe – on 11th March 1807, Eberl left an oeuvre of around fifty Eberl worked as a piano teacher for the tsar's children opus numbers, mainly written after 1800. The and as Kapellmeister, pianist and composer. He must Allgemeine Musikalische Zeitung remarked on the early have written and performed many symphonies, piano death of this artist »that he had been mourned as is concertos and much chamber music, most of which is rarely the case«. Obituaries praised his modesty and lost. The dedications of many of his compositions to sincerity. The fact that in musical history the talent of countesses, princesses and dukes – also later, in this promising pioneer of the Romantic era has been Vienna – reveal Eberl's popularity in the highest ranks consistently ranked lower than the three »giants« sur- of aristocratic society. rounding him could be forgiven; that he has been for- gotten most certainly can not. Early in 1800 Eberl returned to Vienna where he wrote his last opera, Die Königin der schwarzen Inseln, which was praised by both the audience and Joseph As far as we are aware, the GRANDE SONATE IN B Haydn. In the Spring of 1802 he revisited FLAT MAJOR, OP.10 NO.2is the first real sonata written St. Petersburg to present his three String Quartets, for clarinet and fortepiano in which the fortepiano op. 13 to his former piano student, Tsar Alexander I, score is fully composed instead of using the figured and to conduct three performances of Haydn's bass which was previously the common practice. Schöpfung. After this journey, Eberl settled in Vienna There is also a fully scored cello part ad libitum in permanently and it was then that his reputation blos- which the cello mainly doubles the left hand of the somed and his entire oeuvre was published, among piano but sometimes has independent lines in the which several piano concertos and two mature sym- tenor register. Here Eberl makes use of the expanded phonies. At the peak of his fame, Eberl toured to possibilities of the cello as a melodic instrument, Prague, Dresden, Weimar, Berlin, Leipzig, Gotha, rather than just a bass instrument. Eberl was indeed Frankfurt and Mannheim playing mainly his last two one of the few composers of his time to understand the symphonies, his Variations for two pianos, op. 31 and potential of this instrument, especially in chamber his Concerto for two pianos, op.
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