Johann Ernst Eberlin

A near-contemporary and friend of Leopold Mozart, Johann Ernst Eberlin was a versatile composer, turning away functions in a variety of vocal and instrumental styles, but exerting impact on succeeding decades just in his sacred vocal compositions. Eberlin was created in the tiny Bavarian city of Jettingen in 1702 and was schooled in Augsburg. Small is well known of his early musical education; at age group 19 he signed up for the Salzburg Benedictine College or university, where he researched for just two years (1721-23). Departing with no level, he must curently have become an achieved keyboardist, for he’d become appointed to another organist post in the Salzburg Cathedral in 1726. Furthermore, a few of his first surviving body organ compositions time to for this period. While his movie theater music can’t be tracked back that considerably, his attraction towards the genre gets to back again to his youth. Thus, it really is small shock that Eberlin would shortly produce a lot more than ninety functions for the stage, a lot of that have been performed on the Salzburg Courtroom Movie theater. He also created music for college plays, the majority of it arriving after 1741, nevertheless. These college play productions had been frequently staged at St. Peter’s Abbey, where Eberlin acquired strong connections using the clergy, with the Benedictine School. Being among the most effective of these initiatives was Sigismundus, rex Burgundiae (1753), a multi-colored work whose luxurious 1761 performance highlighted the participation from the youthful Wolfgang Amadeus Mozart, who afterwards exhibit great admiration for Eberlin’s vocal composing. In 1749, Eberlin, who acquired steadily increased in rank on the Cathedral with the Salzburg Courtroom, was appointed Kapellmeister for both, beneath the Archbishop of Salzburg. Five years afterwards he was presented with the name of ‘Princely Steward’ in identification of his high popularity being a composer/musician in Salzburg. Eberlin preserved his renown within the last many years of his profession and appeared to stay energetic up to enough time of his loss of life in 1762. Though he continues to be largely forgotten, latest shows and recordings of his chapel music have persuaded some that he might be considerably underrated. Ironically, though Eberlin’s music was performed frequently and generally well received, and even though he created over 300 chapel compositions, including people, psalm configurations and hymns, aswell as numerous body organ pieces and additional functions, his just compositions to become released in his life time were his key pad fugues.