The composer, whose compositional habits here (in the obituary be the general musical newspaper from April 1, 1807) characterizes as they represented a mix of Mozart's
genius and Beethoven's perfectionism, was in fact in some ways between Mozart and Beethoven, not only chronologically, he lived from 1765-1807, but also because of its position in the musical life of the Austrian capital. With Mozart, he was known, yes friends, like a cantata Bey Mozarts Grabe "from Mozart's death in 1791 testified, and Beethoven, he competed in the first decade of the 19th Century to win the favor of the Viennese public, we can say that he was Beethoven's most important and most significant competitor in Vienna in the field of instrumental music. Anton Eberl
on 13 Born in Vienna in June 1765. His father was a wealthy imperial official. Early on, has the musical talent of the young Anton have expressed, at the age of seven or eight years he was in private as a pianist. Piano lessons, he probably received by Josef Anton Steffan and / or
Georg Christoph Wagenseil , from 1778, perhaps by Leopold Kozeluh . Urged on by his father took Eberl late 1770s to study law, which was, however, he soon give up if only because its financial bankruptcy forced, he had not given up playing the piano during his studies, he now turned fully to the music. 1781 arrived in Vienna the first stage work Eberl, the comic opera Les Bohemians , performed, which until the mid-1790s was followed by five other stage works, including the musical comedy The Marchande des Modes that lifted him mention the praise Gluck intended. Between 1783 and 1785 Eberl composed three symphonies, the last in C major, some similarities with Mozart's Haffner Symphony (1782) and in 1944 as Mozart's work appeared in print, soon turned out that this is a work Eberl.
Anton Eberl (1765-1807) Anton Eberl details to be found in Klassika, in General German Biography , and dedicated to him in a thread in the Classical Forum Tamino. In the years 1784 and 1785, in March, had Eberl presented in which he himself held "academies" at the Vienna Burgtheater the music-loving audience, and perhaps he had met at one of these occasions Mozart learned, whether Eberl and Mozart's pupil was, is still not resolved. In any case, some of the early piano compositions Eberl published until well into the 19th Century, Mozart's name into it. Twice, in 1798 and 1805, Eberl publicly protested against this abuse of his works and the name of Mozart by the publisher. The connection to the Mozart family also ripped off after 1791 does not, under the immediate influence of Mozart's early death he had, as already indicated, in December 1791 a cantata composed Bey Mozarts Grabe, and in winter 1795/96 accompanied Eberl
Mozart's widow
Konstanze and her sister Aloysia Lange on a tour through Germany. seems to return to Vienna Eberl term in the Austrian imperial city but no prospects for himself and his wife Anna Maria, born Scheffler, who he married in the spring of 1796, have seen. The couple moved on shortly after the marriage to St. Petersburg. Although he succeeded in the capital of the Tsarist empire at once, to gain in court circles a reputation as a piano teacher and composer, like many plant dedications show including to members of the royal family; to dreiiährigem stay, the couple end of 1799 but returned to Vienna, Eberl and again tried to succeed as a composer of stage works. His opera The Queen of Black Magic Island (1801), however, remained resounding success failed; the plant was closed after eight performances. Perhaps discouraged by this failure, he turns in 1801 yet again heads to St. Petersburg, where he spent three highly acclaimed performances of Haydn's oratorio The Creation
, a year later, however, the final establishment in Vienna. Well turns Eberl to the composition of instrumental music and experienced a meteoric rise.
Eberl, Anton: Grand Quintet for piano forte clarinette, deux altos et violoncelle Oblige, Op 41 [votes], Vienne, [ca 1825] (Source: printed music from the music department of the Bavarian State Library, Munich Digitisation Centre ) Already in a 1802 trip report written Eberl is provided as a composer of piano music after Beethoven, "in Beethoven's piano compositions are well now and Anton Eberl the most strength. Beyde have novelty, fire and force of ideas on the two rivers, and both works are exequiren quite heavy, but also certainly worth the effort. Beethoven, nor to my Vergleichungssucht Einmahl the reins to make shooting, has, I think, with Jean Paul many resemblance. Beyde are characterized by very much genius, but also by many peculiarities and eccentricities, you must forgive the genius. Eberl Force acts more as a whole, rather than individual parts. With fiery live complexions, he, like
Klinger s Gemählde, with broad strokes, powerful figures in front of our soul, which take us with wondrous power, though still occasionally seen too many wild untamed strength. " Similar 8eethoven in the years after 1795 also seems Eberl as planned, at his final return to Vienna in the genres of instrumental music have been acquired: the breakthrough as a piano composer in 1802 was followed the next year of success as a composer of chamber music. August von Kotzebue
reported in the first year of the newspaper he edited
The frank and Berlin Zeitung for educated, unbiased reader (from 12.04.1803) that was Eberl Piano Quartet in C major op.18 Beethoven's Opus 16, the next big musical sensation of Lent 1803: Although "as a character in a lighter" the work of Beethoven, but "full of fine, but deep feeling, originality, fire and power, brilliant and imposing." And on 06 January 1804 stood Eberl, "until now only by piano compositions generally known and geschäzt," as it said in a contemporary account, in an "Academy of the Viennese public," the first time before composing for large orchestra, it seems deliberately to representative genres of orchestral music Covering, performed the overture came to the Queen of the Black Islands, the Piano Concerto, Op-flat major, Opus 40, Concerto for Two Pianos and Orchestra in B flat major, Op 45 and Symphony in E major, 33rd the rest of the year 1804 and 1805 he used to be in another "academies" to finally establish itself as a Viennese composer of note and to compose works in all genres of instrumental music. From January to June 1806 Eberl undertook a concert tour to northern Germany to introduce even there his large orchestral works, and in March he performed in Dresden and Berlin, in Leipzig in April and May in Weimar and Mannheim. The Hereditary Princess Maria Pavlovna
Weimar, a sister of Tsar Alexander I.
known by Eberl perhaps since his stay in St. Petersburg was commissioned him to compose a piano sonata, this work (G minor, Op 39 ) should be his last major composition, for Eberl died at the age of 42 years, yet on 11 March 1807 of scarlet fever.
Johann Heinrich Ferdinand Olivier (1785-1841): Landscape of Salzburg, 1824, Gemäldegalerie Dresden The Nazarene Johann Heinrich Ferdinand Olivier, called the Younger, was a specialist in Mediterranean landscapes, which he peopled with biblical scenes. The used for the cover of this section is only slightly smaller than the original image. Unlike Beethoven, who after 1800 is almost exclusively the "classical" genres of chamber music - string quartet and piano trio - used, composed Eberl until the end of his works for various chamber music ensembles, quartets and quintets with and without wind, but also duo sonatas , trios and a series of three string quartets. This should apply particularly his chamber music for piano with mixed Bläser-/Streicherbesetzung unprecedented. You either composed in the tradition of the Serenade for Winds and Strings call without piano {Mozart's wind serenades and his Oboe Quartet K. 370, and 8eethovens Septet op.20 would be here), or, starting from the tradition of the accompanied piano sonata for piano and wind instruments (Mozart, Quintet K. 452, Beethoven, Quintet, Op 16 ) and for piano and strings (piano trios and quartets). sets the dominance of the piano part to the assumption Eberl had work for own use in musical circles, salons and even written on the body. As for his chamber music with horns, and his fondness for the clarinet is striking: he had already in 1799 with his Sonata in B flat major, Op 10, No 2 is one of the earliest works for clarinet and appear piano (but still with an old-fashioned ad libitum-bass) have so followed in the years following the turn of the century, the Quintet in G minor, Op 41, the potpourri for piano, clarinet and cello, Op 44 and the trio op 36th Time is usual in the prints usually contain an alternative to the clarinet a violin, the publisher knew that the clarinet was in contemporary musical life is not nearly as common as the violin and raised in this way, the prospects for sales of the prints.
Source:
Bert Hagel
(Berlin), in the booklet
TRACKLIST
Anton Eberl (1765-1807)
Grand Quintet, Op. 41 in G minor 24'43
for Piano, Clarinet, Two Violas & Cello
(01) I. Allegro con fuoco 10'05
(02) II. Adagio 7'15 but not too
(03) III. Finale 7'23
Grand Trio, Op. 36 in E flat major 29'21
for Piano, Clarinet & Cello
(04) I. Andante maestoso - Allegro 10'33
(05) II. Adagio non troppo, but 8'36
expression (06) III. Scherzo. Molto vivace 3'08
(07) IV. Allegretto 7'04
Quintuor brilliant op. 48 in C major 23'17
for Piano, Oboe, Violin, Viola & Cello
(08) I. Allegro vivace 11'24
(09) II. Adagio 5'47
not much (10) III. Rondo. Allegretto con moto 6'06
TT: 77'38
Consortium Classicum:
Dieter Bros., Clarinet (1-7)
Gernot Schmalfuss, oboe (8-10)
Andreas Krecher, Violin (8 - 10)
Niklas Schwarz, Viola (1-3 & 8-10)
Ludwig Hampe, Viola (1-3)
Armin Fromm, cello (1-10)
Thomas Duis, piano (1-10)
Recording: Chamber Music Studio of the SWR Stuttgart, October 4-7, 2005
Recording Supervisor: Dietmar Wolf
Recording Engineer : Burkhard Pitzer Landeck
Digital Editing: Dietmar Wolf, Tanja Hiesch
(P) 2007
DDD
Jan Vermeer : Sitting virginal, 1673-75, London, National Gallery The elegantly dressed young woman seated at a Virginal
, a precursor of the harpsichord, whose name is already on the female Virginity alludes. Unlike the guitar player
that looks to the side, she looks at us directly. It is unclear whether their views or requests, so here is real or has played naive. The pose is reminiscent of the letter writer in yellow
from the 60's, but without the intense luminosity. While previous rectangular compositions seem to require assign Vermeer Piet Mondrian, we recognize here the impressionists at work, and Jackson Pollock has side front of the virginal young folks.
The most interesting detail of the painting is the picture on the wall, which is not difficult as Dirck van Baburen
s
matchmaker identifiable. As fits a picture of sin, the representation of the "point-of-sale transaction" (Roy Williams Clickery) through which a prostitute is purchased, this innocent-looking, peaceful young woman playing music? In obviously similar - on Vermeer's painting, the virginal standing,
is the picture on the wall
Cupido, a symbol of love, but no commercial connotations. Perhaps the painter wanted to suggest by the image pair, the two varieties of erotic "behavior". Vermeer Baburen image in another image, the concert
, quoted, and it is believed that he possessed it, and that it hung in his house. (It is mentioned in the inventory of the house of his mother in 1641.)
picture and comment will remember Roy Williams
Clickery
, who presented more than ten years, the website "Paintings of Vermeer" , with illustrations of and commentaries on all the pictures of Vermeer, and much more. The link is long dead but not forgotten. A remaining featured website to Johannes Vermeer is "Johannes Vermeer & life in Delft"
, "a multimedia, encyclopedic 2000 + page web site".
Historical portraits of important personalities: portrait.kaar.at
is a searchable image database with currently 2349 historical portraits. Here are photographs and engravings, woodcuts and paintings from different areas and eras. See for yourself: The Top 20 Portaits the last month.
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
Track 02: Grand Quintet Op 41 - II Adagio ma non troppo
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