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]