Presents
Anton Eberl
String Quartet No.3 in g minor, Op.13 No.3---New Edition
Anton Eberl (1765-1807) was born in Vienna and studied piano and composition from several teachers, including Mozart. Besides being an outstanding composer, he was a pianist of the first rank and toured throughout Europe. He wrote well over 200 works and in nearly every genre. The opus numbers given to his works bear no relation to reality.There is no composer whose works were more frequently passed off as Mozart's than those of Anton Eberl. Even more surprising was the documented fact that there was no protest from Mozart against the use of his name on Eberl's compositions. Eberl, a friend and student of the great man, did mind but was too timid to take action until after Mozart had died. Finally, he published the following notice in a widely read German newspaper,
"However flattering it may be that even connoisseurs were capable of judging these works to be the products of Mozart, I can in no way allow the musical public to be left under this delusion."
Eberl's String Quartet No.3 in g minor is the last of a set of three which appeared in 1801 as part of his Op.13. Not only the opus number but also the style of the work are revealing. Based on our research, we believe that this set of quartets was composed at least fifteen years earlier, most probably in the mid 1780s. And while his later works, for example his Trio for Clarinet, Cello and Piano Op.36 or his Op.47, might well be mistaken for Mozart, this is not the case here, despite the fact that occasionally one hears echoes of Mozart. In most respects, the style is closer to that of Haydn.
The first movement begins with an ominous sounding Adagio introduction of the sort one finds in some of Haydn's quartets. This leads to a stormy Allegro agitato. full of forward motion. The second movement, Menuetto, allegretto, has much the same stormy mood of the first movement. The fact that Eberl does not employ a scherzo, to some extent, lends credence to the supposition that it is unlikely the quartet was composed around 1800. There is a nicely contrasting trio section. Next comes an Andante con moto, which begins in a rather languid fashion. However, as movement progresses a more lively, lyrical theme is passed about. Tension is introduced in the middle section by virtue of a pulsing accompaniment. The finale is an energetic and appealing Allegro. If you did not know better, you might well guess Haydn had written it.
Our new edition is based on the original 1801 edition published in Vienna by Mollo. It was edited by senior editor Raymond Silvertrust. This quartet makes an excellent choice for the concert hall and is a fresh and welcome replacement for the ubiquitous Haydns which unadventurous and or lazy professional ensembles all too often put before the public. It can also be warmly recommended to amateur ensembles.
Parts: $29.95
Parts & Score: $38.95
