Johann Ernst Eberlin(1702-1762)
     The Nine Toccatas & Fugues

Toccatas & Fugues:
Nos. 1 in D minor
     2 in G minor
     3 in A minor
     4 in E minor
     5 in C major
     6 in F major
     7 in D major
     8 in G major
     9 in E minor

ASV Gaudeamus 177
Recorded August 1996 - Released 1998
Leeuwen Organ of the Dutch Church in London(1954)
David Titterington, Organ
TT 61:49

Summary Rating: C-

Although little known today, Johann Ernst Eberlin held the two highest
musical positions attached to the court of the Archbishop of Salzburg:
Kapellmeister and Cathedral Organist.  This accomplishment was never even
attained by Biber, Mozart, or Haydn.  As further tribute, Papa Mozart wrote
of Eberlin's masterful gift for composition and compared him favorably to
Alessandro Scarlatti and Telemann.  Wolfgang Amadeus was not as favorably
disposed toward Eberlin, stating that Eberlin's keyboard fugues "are
nothing but long-drawn-out versetti".

Eberlin, in his duties at the Salzburg court, wrote a large number of
sacred pieces, works for organ, and music for the theatre.  His nine
Toccatas & Fugues for Organ were published in 1747 and dedicated to the
Archbishop; Eberlin clearly knew the right people to flatter.  The ordering
of the nine works is based on the eight Church Tones with the ninth work
being another treatment of the fourth tone.

I'm aware of only one other recording devoted to Eberlin's nine Toccatas
& Fugues - a MDG disc performed by Florian Pagitsch.  Those performances
would stand a good chance of surpassing Titterington's whose organ is not
a good choice for Eberlin.

Recently, I reviewed a fine disc on Arion of Homilius chorales.  Given
that time is somewhat precious, I wouldn't want to go lower than Homilius
for extended listening.  Lower is just where I find Eberlin's Preludes &
Fugues.  Wolfgang was right about this guy's fugues; they blur into one
another and represent repetitive rounds of uninspired music-making.  They
often lack sufficient muscle, although most have a second fugual treatment
with greater oomph.  The only problem with the second treatments is that
they tend to sound alike.  Overall, these fugues don't cut it at all.

I did initially think much better of Eberlin's preludes which I can't deny
possess some fine melodies and atmosphere.  However, these pieces also tend
to blur into one another as the disc progresses.  It might be viable to
have a couple of the works in a mixed program, but a whole disc is far
too much for marginal music.

My hunch is that neither Titterington nor the Leeuwen Organ helps matters.
Given the 'sameness' of the music, what's really needed is a great
performer who knows how to wring every ounce of diversity out of the music
through imaginative use of registrations and rhythmic patterns.  Alas,
Titterington treats the music as a masterpiece which only needs to be
played.  His registrations are about as boring as possible.  I also think
the music would benefit from a historical organ something along the lines
of a Silbermann.

Don's Conclusions:  I've listened to the Eberlin disc beyond my saturation
level.  There's just nothing here to linger over.  Musical inspiration is
at a low level, and the 'same old story' keeps being played.  This is one
of those musical byways to avoid.  Perhaps the MDG offering is a worthy
one.  However, I'm going to pass on that one; nobody can make gold out of
these works.

Don Satz
[log in to unmask]