‘Mozart gave the younger composer instruction from 1785 to 1786’‚ declares AL Porfirieva in the booklet­note. ‘He may have been a pupil of Mozart‚ who befriended and encouraged him’‚ says A Duane White in the latest edition of Grove. This lack of concurrence shows that Eberl (1765­1807) is a shadowy figure‚ but both authors agree that many of his compositions – among which White includes a Piano Trio in C from 1797 – were misattributed to Mozart. That was easy in an age without copyright. No mistakes though about the authorship of these Op 8 Trios that were dedicated to the Grand Duke Aleksandr Pavlovich of Russia‚ a country where Eberl had lived on two occasions. Undoubtedly‚ they are very 18th­century pieces‚ mostly genuinely inventive. The slow movements of Nos 1 and 3‚ both marked Adagio‚ are especially distinctive with a reflectively expansive lyricism that evokes the best collective response from these period­instrument musicians. In many piano trios of this era the cellist rarely has a chance to shine‚ but that doesn’t excuse the backward balance given to Sokolov‚ who deserves better. Martynov has the leading role‚ and he is a fortepianist of impressive credentials‚ extracting clarity without clatter but also offering an expressive grace and variety of touch normally heard on a modern piano. Regrettably‚ Fitchenko isn’t always the equal of his colleagues. His tone is monochromatic and a corresponding lack of contrast in accentuation gives his playing a leaden quality. Moreover‚ he is closely miked‚ and his breathing intrudes. A pity.