The chamber music of pianist-composer Anton Eberl (1765–1807) is one of the undiscoveredsecrets of Viennese Classicism.
At the beginning of his career Eberl had to put up with the doubtful flattery of seeing some of hisworks published under the name of Mozart (who was a friend and supporter) – and with Mozart’s knowledge.
But Eberl’s charming and elegant music deserves to be remembered in its own right: it engages inremarkably imaginative and experimental formal innovations.
These innovations develop the Viennese Classical style beyond the point at which Mozart had leftit, to a degree of refinement that led Eberl’s contemporaries to prefer his compositions toBeethoven’s.
All three works are receiving their first recordings here.
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