Anton EBERL, Grande Sonate Anton Eberl, Grande Sonate

Being considered equal to, or even better than, Beethoven, Anton Eberl (1765-1807) was apparently so well received that his works could pass as being composed by Mozart. His Piano Sonata, op. 1, for example, was published many times as Mozart's last great sonata. Eberl contributed greatly in the change of style and hereby opened doors for the later Romantic composers such as Schubert and Mendelssohn. An explanation as to why Eberl's often extremely complex music was never rediscovered in the twentieth century might be that it is very difficult to render a satisfactory performance on modern instruments. His style, which combines the lightness of Classical music with the melodiousness of Romanticism, is much easier to understand when played on original instruments. Eberl makes perfect use of the characteristics and »unevenness« of the early nineteenth century instruments, such as the chromatic colouring of the clarinet and the different registers of the fortepiano and the cello, a quality which becomes lost when played on the more »even«modern instruments. At the peak of his fame, Eberl toured to Prague, Dresden, Weimar, Berlin, Leipzig, Gotha, Frankfurt and Mannheim. At the time of his death he left an oeuvre of around fifty opus numbers, mainly written after 1800. The Allgemeine Musikalische Zeitung remarked on the early death of this artist »that he had been mourned as is rarely the case«. The fact that in musical history the talent of this promising pioneer of the Romantic era has been consistently ranked lower than the three »giants« Mozart, Haydn and Beethoven could be forgiven; that he has been forgotten most certainly can not.

Trio Van Bruggen - Van Hengel - Veenhoff  Soon after its foundation in 2001, TRIO VAN BRUGGENVAN HENGEL — VEENHOFF was awarded three prizes in the International Van Wassenaer Competition. The ensemble has since been very successful in the Netherlands, as well as in other European countries, having performed at the Holland Early Music Festival in Utrecht, and the Prinsengracht Festival in Amsterdam. As well as playing together as a trio, all three musicians have their own solo careers and have performed solo concertos accompanied by orchestras such as the New Dutch Academy and Orchestra Van Wassenaer in prestigious concert halls such as Vredenburg in Utrecht, De Doelen in Rotterdam and the Concertgebouw in Amsterdam. Bas van Hengel was awarded the solo violoncello prize in the competition at the Early Music Festival Musica Antiqua in Brugge in 1999 and both Nicole van Bruggen and Bas van Hengel were prize winners in the same competition with Kwartet André.

Nicole van Bruggen, clarinet
Bas van Hengel, violoncello
Anneke Veenhoff, fortepiano

Stephen Freeman, viola
Frouke Mooij, viola


Trio in E flat major op. 36 1. Andante maestoso - Allegro con spirito
  2. Adagio non troppo ma con espressione
  3. Scherzo. Molto vivace
  4. Allegretto
Sonata in B flat major op. 10 no. 2 5. Allegro spirituoso
  6. Romance. Andante espressivo
  7. Rondo. Allegretto
Quintet in G minor op. 41 8. Allegro con fuoco
  9. Adagio ma non troppo
10. Finale