Concentration of the research mainly on the composer’s personal style ─ the long-lasting
problematic tendency in the Beethoven-studies ─ has been changing these days. However, many
of his contemporaries are yet out of analytical discussion, although such examination is necessary to
fully understand Beethoven’s music.
Anton Eberl (1765-1807) has attracted little attention in the Beethoven-studies too. However,
both composers lived in Vienna during the same period and their works partially shared similar
timelines in creation and reception, which suggests that they may have been acquainted with each
other: Eberl’s symphony op. 33 and Beethoven’s
Eroica were performed in the same concert and
dedicated to Prince Lobkowitz; and their string quartets were both performed in Schuppanzigh’s
public concert. Moreover, their works in question reveal several musical proximities (Jackson 2016;
Maruyama 2017).
In addition, the following observations may be made: first, their music share common
characters, such as shifts of tonal framework by thirds and boldness in the harmonic/formal plan
etc.; second, the distinct techniques like deviation from the conventional thematic/formal structure,
and constructing a piece as if it were already in process at its opening by beginning a movement
with development of a small motive or gradual clarification of the home key, both of which
characterize the works relating Beethoven’s “
Neuer Weg”, are partly found in Eberl’s works.
Furthermore, their cello sonatas, Eberl’s op. 26 and Beethoven’s op. 69, show many musical
parallels: the home key, A-major, the unclear independency of each movement and other detailed
similarities in harmonic plan and musical texture. Interestingly, Eberl’s work was publicly performed
by himself and the cellist who also made a guest appearance at the concert’s entrepreneur of
Eroica. Therefore, Beethoven possibly heard their performance. These multiple relationships both
outside and inside of the musical works imply that their similarities could be inspired by the
interaction within a musical circle they joined in, and shared by the other contemporaries belonging
to it too.
By showing these multiple parallels, this paper introduces Eberl into the comparative study of
Beethoven’s music. The present study shall demonstrate that it is through comparative examination
of Beethoven’s contemporaries that will enable us to have a fuller picture of the creative world in
which Beethoven lived.
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