- published: 19 Oct 2020
- views: 24503
Ferdinand Ries
Ferdinand Ries (28 November 1784 (baptised) – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works—most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Life
Ries was born into a musical family of Bonn. His grandfather, Johann Ries (1723–1784), was appointed court trumpeter to the Elector of Cologne at Bonn.
The French dissolved the Electoral court of Bonn and disbanded its orchestra, but in the early months of 1803 the penniless Ries managed to reach Vienna, with a letter of introduction to Beethoven, who had received some early instruction at Bonn from Ries's father, Franz Anton Ries. Beethoven took great care of the young man, teaching him piano, sending him to Albrechtsberger for harmony and composition and securing for him positions as piano tutor in aristocratic households in Baden and Silesia. Ries made his public debut as a pianist in July 1804, playing Beethoven's C minor concerto, Op. 37, with his own cadenza, to glowing reviews.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Ferdinand_Ries
Podcasts:
Ferdinand Ries
ALBUMS
- Complete Flute Quartets (Oxalys) released: 2010
- String Quartets, Volume 2 (Schuppanzigh Quartett) released: 2007
- String Quartets, Volume 1 (Schuppanzigh Quartett) released: 2006
- Piano Concertos: Op. 123 (1806) / Op. 151 (1826) released: 2005
- Complete Symphonies released: 2000
Complete Flute Quartets (Oxalys)
Released 2010- Quartet WoO 35 nr. 1, in D minor for Flute, Violin, Viola and Violoncello: Allegro
- Quartet WoO 35 nr. 1, in D minor for Flute, Violin, Viola and Violoncello: Adagio con moto
- Quartet WoO 35 nr. 1, in D minor for Flute, Violin, Viola and Violoncello: Scherzo, Vivace
- Quartet WoO 35 nr. 1, in D minor for Flute, Violin, Viola and Violoncello: Finale, Allegro molto
- Quartet WoO 35 nr. 2, in G Major for Flute, Violin, Viola and Violoncello: Andante - Allegretto
- Quartet WoO 35 nr. 2, in G Major for Flute, Violin, Viola and Violoncello: Adagio con moto, cantabile
- Quartet WoO 35 nr. 2, in G Major for Flute, Violin, Viola and Violoncello: Allegro vivace
- Quartet WoO 35 nr. 3, in A minor for Flute, Violin, Viola and Violoncello: Allegro non troppo
- Quartet WoO 35 nr. 3, in A minor for Flute, Violin, Viola and Violoncello: Largo
- Quartet WoO 35 nr. 3, in A minor for Flute, Violin, Viola and Violoncello: Menuetto, Moderato
- Quartet WoO 35 nr. 3, in A minor for Flute, Violin, Viola and Violoncello: Rondo grazioso, Allegretto
String Quartets, Volume 2 (Schuppanzigh Quartett)
Released 2007- String Quartet No. 2 in G major, Op. 70: I. Allegro
- String Quartet No. 2 in G major, Op. 70: II. Andante
- String Quartet No. 2 in G major, Op. 70: III. Scherzo, allegro vivace
- String Quartet No. 2 in G major, Op. 70: IV. Finale, allegro molto
- String Quartet No. 20 in F minor, WoO 48: I. Andante con moto (attacca) - Allegro
- String Quartet No. 20 in F minor, WoO 48: II. Larghetto con moto quasi andante (attacca)
- String Quartet No. 20 in F minor, WoO 48: III. Menuetto, Allegretto
- String Quartet No. 20 in F minor, WoO 48: IV. Finale, Allegro
String Quartets, Volume 1 (Schuppanzigh Quartett)
Released 2006- String Quartet in C major, WoO 37: I. Allegro con brio
- String Quartet in C major, WoO 37: II. Andantino con moto
- String Quartet in C major, WoO 37: III. Menuetto. Moderato
- String Quartet in C major, WoO 37: IV. Finale: Allegro - Larghetto - Allegro
- String Quartet in E-flat major, WoO 10: I. Allegro molto moderato
- String Quartet in E-flat major, WoO 10: II. Menuetto.Allegro
- String Quartet in E-flat major, WoO 10: III. Adagio cantabile
- String Quartet in E-flat major, WoO 10: IV. Rondeau: Allegro moderato
Piano Concertos: Op. 123 (1806) / Op. 151 (1826)
Released 2005- Piano Concerto in A-flat major, op. 151 "Gruss an den Rhein": I. Allegro con moto
- Piano Concerto in A-flat major, op. 151 "Gruss an den Rhein": II. Larghetto con moto
- Piano Concerto in A-flat major, op. 151 "Gruss an den Rhein": III. Rondo: Allegro molto
- Piano Concerto in C major, op. 123: I. Allegro con spirito
- Piano Concerto in C major, op. 123: II. Larghetto quasi andante
- Piano Concerto in C major, op. 123: III. Rondo: Allegro vivace
Complete Symphonies
Released 2000- Symphony No. 1 in D major, Op. 23: I. Adagio - Allegro molto vivace
- Symphony No. 1 in D major, Op. 23: II. March funèbre
- Symphony No. 1 in D major, Op. 23: III. Menuetto. Moderato
- Symphony No. 1 in D major, Op. 23: IV. Finale. Allegro
- Symphony No. 2 in C minor, Op. 80: I. Allegro ma non troppo
- Symphony No. 2 in C minor, Op. 80: II. Andantino
- Symphony No. 2 in C minor, Op. 80: III. Menuetto. Allegretto
- Symphony No. 2 in C minor, Op. 80: IV. Finale. Allegro ma non troppo
Born: 1784-11-28
Died: 1838-01-13
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Ferdinand Ries - Piano Concerto No. 5 "Pastoral", Op. 120 (1814)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras. Piano Concerto No. 5 in D major, "Pastoral" Op. 120. London 1814. Dedication: A son altesse royale Oscar I princ...
published: 19 Oct 2020 -
Ferdinand Ries - Variations over Swedish National Airs, Op. 52 (1813)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras. Airs nationaux suedois avec variations, Op. 52. Stockholm, 1813 Dedicated to the Duke of Sussex Christopher Hin...
published: 26 Oct 2020 -
Ferdinand Ries - Piano Trio No. 4, Op. 143 (1826)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras. Piano Trio No. 4 in C minor, Op. 143 (1826) Dedication: Madame de Luttichan 1. Allegro con brio (0:00) 2. Adagi...
published: 23 Jul 2020 -
Ferdinand Ries - Piano Concerto No. 7, Op. 132 (1823)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras. Piano Concerto No. 7 in A minor "Abschieds-Konzert von England", Op. 132. London, 1823 Dedication: seinem freun...
published: 24 Oct 2020 -
Ferdinand Ries - Piano Quartet No. 2, Op. 17 (1809)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras. Piano Quartet No. 2 in E-flat major, Op. 17. Vienna, 1809 Dedication: à Son Altesse, Monseigneur le Prince Ferdi...
published: 03 Nov 2020 -
Ferdinand Ries : Symphony No. 1 in D Major : Movement 1
David Lockington conduct's Northwest Sinfonietta's performance of Ferdinand Ries' Symphony No. 1, Mvmt 1, Adagio - Allegro molto vivace. October 12, 2019 #northwestsinfonietta #nws #davidlockington #nwsinfonietta #rialto #ferdinandries #ries
published: 26 Oct 2019 -
Ferdinand Ries - Grand Variations on "Rule Britannia", Op. 116 (1817)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras. Grand Variations on "Rule Britannia" in E-flat major, Op. 116. Hastings, 1817 Dedication: À Mademoiselle Boode ...
published: 25 Oct 2020 -
Ferdinand Ries - Piano Concerto no. 5 in D major, op. 120, "Concerto Pastoral"
Christopher Hinterhuber (piano), Bournemouth Symphony Orchestra, Uwe Grodd (conductor) “The grand opening tutti of the D Major Concerto Pastoral could be by Beethoven; there are even a few brief melodic hints of Beethoven’s “Pastoral” and Ninth symphonies , but as soon as the piano enters, the romantic keyboard style takes over. Ries includes solo horn passages in both the second and third movements, the first of which functions as a link between the movements. These solos—in reality they are horn calls—employ the type of yodelling motives that are an important element of the pastoral style. The lovely second movement Andantino is also remarkable for its orchestration: Ries omits the violins and instead employs a seductive, dark-hued combination of solo horn, solo cello, two bassoons, d...
published: 18 Nov 2015 -
Ries - Piano Concerto No. 8
Christopher Hinterhuber, piano - New Zealand Symphony Orchestra, Uwe Grodd conductor For information and analysis of this work visit http://muswrite.blogspot.com/2013/07/ries-piano-concerto-no-8-gruss-den-rhein.html For information and analyses of other works visit Musical Musings at http://muswrite.blogspot.com/
published: 17 Jul 2013 -
Ferdinand Ries - Piano Concerto No. 3, Op. 55 (1813)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras. Piano Concerto in C# minor, Op. 55 (1812?) Dedicated to Muzio Clementi (1752–1832) Score edited from 1st Edition...
published: 14 Oct 2020
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28:05
Ferdinand Ries - Piano Concerto No. 5 "Pastoral", Op. 120 (1814)
- Order: Reorder
- Duration: 28:05
- Uploaded Date: 19 Oct 2020
- views: 24503
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He compose...
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Concerto No. 5 in D major, "Pastoral" Op. 120. London 1814.
Dedication: A son altesse royale Oscar I prince héréditaire de suede [also of Norway]
I. Allegro
II. Andantino
III. Rondo. Allegro
Christopher Hinterhuber, piano and the Bournemouth Symphony Orchestra conducted by Uwe Grodd
According to Allen Bradley in the liner notes to the Naxos recording, the composer's manuscript is undated making it difficult to determine exactly at what point the composer started working on this concerto. However the works dedication to Prince Oscar of Sweden, suggests that he started work on the concerto during his time in Sweden and worked intermittently on it, along with revisions to the Piano Concerto Op. 55 until around 1815-16. This would make the concerto the sixth of the composers eight piano concertos to be written. The concertos publication in 1823 came at a time when Ries was retiring from active performing and so no longer needed to keep secret the works he relied on in performance.
https://wn.com/Ferdinand_Ries_Piano_Concerto_No._5_Pastoral_,_Op._120_(1814)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Concerto No. 5 in D major, "Pastoral" Op. 120. London 1814.
Dedication: A son altesse royale Oscar I prince héréditaire de suede [also of Norway]
I. Allegro
II. Andantino
III. Rondo. Allegro
Christopher Hinterhuber, piano and the Bournemouth Symphony Orchestra conducted by Uwe Grodd
According to Allen Bradley in the liner notes to the Naxos recording, the composer's manuscript is undated making it difficult to determine exactly at what point the composer started working on this concerto. However the works dedication to Prince Oscar of Sweden, suggests that he started work on the concerto during his time in Sweden and worked intermittently on it, along with revisions to the Piano Concerto Op. 55 until around 1815-16. This would make the concerto the sixth of the composers eight piano concertos to be written. The concertos publication in 1823 came at a time when Ries was retiring from active performing and so no longer needed to keep secret the works he relied on in performance.
15:12
Ferdinand Ries - Variations over Swedish National Airs, Op. 52 (1813)
- Order: Reorder
- Duration: 15:12
- Uploaded Date: 26 Oct 2020
- views: 6003
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He compose...
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Airs nationaux suedois avec variations, Op. 52. Stockholm, 1813
Dedicated to the Duke of Sussex
Christopher Hinterhuber, piano and Gävle Symphony Orchestra conducted by Uwe Grodd
For fun I added a review of 1815 by The European Magazine, and London Review.
Swedish National Airs, with Variations for the piano-forte by Ferdinand Ries
The title of this work would naturally lead us to conjecture that it is not of a studied or elaborate nature; the contrary, however, is the fact; and we doubt that the limits of our page will not permit a thorough and minute investigation of the pieces before us.
The introduction of the first air begins with a slow movement Largo molto, interspersed with abundant roulades ad libitum. When the direction "a tempo" is announced; the author has made use of J.B. Cramer's passage in semiquavers for three bars remaining in the base which constitutes his 35th Exercise in the second book.
The first air entitled "a cradle song" has nothing very attractive, being a monotonous kind of melody. The variations, however, are sufficiently complicated and require a very masterly command of the instrument to execute. The Larghetto is difficult and abstruse in the extreme, and appears to be next to impossible to perform in just time, so uncommonly irregular and various are the divisions of the measure: indeed the curiosity of the construction of this movement is its chief, or rather only, merit, as there is not one single bar of good melody in the two pages which it occupies.
After this we are presented with an Allegretto movement entitled "Skansk Bond Dans" in triple measure: a poor melody, but rather less monotonous, as it passes from its minor key of C into the major E-flat in the second part of the tune. .... .....
The last of these Swedish rarities is "The Miller's Dance" consisting of very confined descant of only eighth bars, but rather of a pleasing cast, though totally old and hackneyed, characteristic of no national style whatsoever, and might as well be called a Yorkshire or Devonshire Air, as to any novelty or impressive feature it contains. Upon these paltry bars also the author exhausts tremendous vollies of semiquavers, and a chain of mountainous passages occurs, sufficient to turn the performer's head giddy even before any manuel attempt to scale them. The ultimate modulation into the major of C produces a lively effect: but we cannot help acknowledging (upon the whole) considerable disappointment in this work of Mr. Ries, whom, as he is known to be a perfect master of his art, we expected to have given in these variations something very different and very superior to a dense congeries of crowded and crude difficulties, without an atom for such an unmerciful siege to our ears in a single phrase of elegant taste or affecting harmony. It is but too true that the zeal for attempting impossibilities has of late gained a desperate and fatal ground among pianists; and the excellence of the composition is estimated, not by beautiful melody united with touching harmony, but by an electric current of unmeaning notes. If this bad taste not be speedily checked, piano-forte music will be entirely alienated from the grand purpose of all music, those of delighting the ear, and affecting the heart, and will remain only an exploit of dexterity to amuse and astonish the eye, and its dignity being reduced to deserve only the same degree of esteem which we cherish for the vaulting of a tumbler, or the tricks of an adept in legerdemain.
https://wn.com/Ferdinand_Ries_Variations_Over_Swedish_National_Airs,_Op._52_(1813)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Airs nationaux suedois avec variations, Op. 52. Stockholm, 1813
Dedicated to the Duke of Sussex
Christopher Hinterhuber, piano and Gävle Symphony Orchestra conducted by Uwe Grodd
For fun I added a review of 1815 by The European Magazine, and London Review.
Swedish National Airs, with Variations for the piano-forte by Ferdinand Ries
The title of this work would naturally lead us to conjecture that it is not of a studied or elaborate nature; the contrary, however, is the fact; and we doubt that the limits of our page will not permit a thorough and minute investigation of the pieces before us.
The introduction of the first air begins with a slow movement Largo molto, interspersed with abundant roulades ad libitum. When the direction "a tempo" is announced; the author has made use of J.B. Cramer's passage in semiquavers for three bars remaining in the base which constitutes his 35th Exercise in the second book.
The first air entitled "a cradle song" has nothing very attractive, being a monotonous kind of melody. The variations, however, are sufficiently complicated and require a very masterly command of the instrument to execute. The Larghetto is difficult and abstruse in the extreme, and appears to be next to impossible to perform in just time, so uncommonly irregular and various are the divisions of the measure: indeed the curiosity of the construction of this movement is its chief, or rather only, merit, as there is not one single bar of good melody in the two pages which it occupies.
After this we are presented with an Allegretto movement entitled "Skansk Bond Dans" in triple measure: a poor melody, but rather less monotonous, as it passes from its minor key of C into the major E-flat in the second part of the tune. .... .....
The last of these Swedish rarities is "The Miller's Dance" consisting of very confined descant of only eighth bars, but rather of a pleasing cast, though totally old and hackneyed, characteristic of no national style whatsoever, and might as well be called a Yorkshire or Devonshire Air, as to any novelty or impressive feature it contains. Upon these paltry bars also the author exhausts tremendous vollies of semiquavers, and a chain of mountainous passages occurs, sufficient to turn the performer's head giddy even before any manuel attempt to scale them. The ultimate modulation into the major of C produces a lively effect: but we cannot help acknowledging (upon the whole) considerable disappointment in this work of Mr. Ries, whom, as he is known to be a perfect master of his art, we expected to have given in these variations something very different and very superior to a dense congeries of crowded and crude difficulties, without an atom for such an unmerciful siege to our ears in a single phrase of elegant taste or affecting harmony. It is but too true that the zeal for attempting impossibilities has of late gained a desperate and fatal ground among pianists; and the excellence of the composition is estimated, not by beautiful melody united with touching harmony, but by an electric current of unmeaning notes. If this bad taste not be speedily checked, piano-forte music will be entirely alienated from the grand purpose of all music, those of delighting the ear, and affecting the heart, and will remain only an exploit of dexterity to amuse and astonish the eye, and its dignity being reduced to deserve only the same degree of esteem which we cherish for the vaulting of a tumbler, or the tricks of an adept in legerdemain.
- published: 26 Oct 2020
- views: 6003
25:07
Ferdinand Ries - Piano Trio No. 4, Op. 143 (1826)
- Order: Reorder
- Duration: 25:07
- Uploaded Date: 23 Jul 2020
- views: 7067
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He compose...
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Trio No. 4 in C minor, Op. 143 (1826)
Dedication: Madame de Luttichan
1. Allegro con brio (0:00)
2. Adagio con espressione (attacca) (11:06)
3. Finale. Presissimo (17:00)
Mendelssohn Trio Berlin
https://wn.com/Ferdinand_Ries_Piano_Trio_No._4,_Op._143_(1826)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Trio No. 4 in C minor, Op. 143 (1826)
Dedication: Madame de Luttichan
1. Allegro con brio (0:00)
2. Adagio con espressione (attacca) (11:06)
3. Finale. Presissimo (17:00)
Mendelssohn Trio Berlin
- published: 23 Jul 2020
- views: 7067
35:08
Ferdinand Ries - Piano Concerto No. 7, Op. 132 (1823)
- Order: Reorder
- Duration: 35:08
- Uploaded Date: 24 Oct 2020
- views: 20475
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He compose...
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Concerto No. 7 in A minor "Abschieds-Konzert von England", Op. 132. London, 1823
Dedication: seinem freunde P.J. Eilender
I. Grave — Allegro con moto (0:00)
II. Larghetto con motto (17:35)
III. Rondo. Allegro (25:47)
Christopher Hinterhuber, piano and the Royal Liverpool Philharmonic Orchestra conducted by Uwe Grodd
Details by Allan Badley for Naxos liner notes:
Ries composed his ‘Seventh’ Concerto in London in 1823. He had been living in London since 1813 and had prospered there. He was very highly regarded as a pianist and composer and was also a fashionable teacher. Nonetheless, he found himself increasingly irritated by the directors of the Philharmonic Concerts and, being in a sound financial position by the early 1820s, decided to leave London and return to his native Rhineland. Before his departure he composed a brilliant new concerto which was published the following year with the title ‘Abschieds-Concert von England’ (Farewell Concerto from England). Whatever Ries’s sentiments or intentions may have been at the time he wrote the work, this title does not appear on the autograph score which is simply headed ‘Seventh Concerto for the Pianoforte with full Orchestra Composed by Ferd: Ries London 1823’. The Abschieds-Concert shows Ries working at the height of his creative powers. Alone among the concertos, it opens with a short but powerful slow introduction. A seemingly innocuous dotted figure in the horns quickly proves to be of critical thematic importance as the taut, muscular Allegro con moto unfolds. To those familiar with Ries’s concertos, the majestic opening ritornello comes as no great surprise, but once the piano enters, in A major with a new theme, the movement takes on its own distinctive quality. The solo writing is remarkably flexible and the unexpected twists and turns in the bravura writing, particularly in the long cadenza that lies at the heart of the first movement, might well have been in the mind of the Harmonicon reviewer who, in a tribute to Ries published in 1824, wrote:
Mr Ries is justly celebrated as one of the finest piano-performers of the present day. His hand is powerful, and his execution is certain,—often surprising. But his playing is most distinguished from that of all others by its romantic wildness…He produces an effect upon those who enter his style, which can only be compared to that arising from the most unexpected combinations and transitions of the Aeolian harp.
https://wn.com/Ferdinand_Ries_Piano_Concerto_No._7,_Op._132_(1823)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Concerto No. 7 in A minor "Abschieds-Konzert von England", Op. 132. London, 1823
Dedication: seinem freunde P.J. Eilender
I. Grave — Allegro con moto (0:00)
II. Larghetto con motto (17:35)
III. Rondo. Allegro (25:47)
Christopher Hinterhuber, piano and the Royal Liverpool Philharmonic Orchestra conducted by Uwe Grodd
Details by Allan Badley for Naxos liner notes:
Ries composed his ‘Seventh’ Concerto in London in 1823. He had been living in London since 1813 and had prospered there. He was very highly regarded as a pianist and composer and was also a fashionable teacher. Nonetheless, he found himself increasingly irritated by the directors of the Philharmonic Concerts and, being in a sound financial position by the early 1820s, decided to leave London and return to his native Rhineland. Before his departure he composed a brilliant new concerto which was published the following year with the title ‘Abschieds-Concert von England’ (Farewell Concerto from England). Whatever Ries’s sentiments or intentions may have been at the time he wrote the work, this title does not appear on the autograph score which is simply headed ‘Seventh Concerto for the Pianoforte with full Orchestra Composed by Ferd: Ries London 1823’. The Abschieds-Concert shows Ries working at the height of his creative powers. Alone among the concertos, it opens with a short but powerful slow introduction. A seemingly innocuous dotted figure in the horns quickly proves to be of critical thematic importance as the taut, muscular Allegro con moto unfolds. To those familiar with Ries’s concertos, the majestic opening ritornello comes as no great surprise, but once the piano enters, in A major with a new theme, the movement takes on its own distinctive quality. The solo writing is remarkably flexible and the unexpected twists and turns in the bravura writing, particularly in the long cadenza that lies at the heart of the first movement, might well have been in the mind of the Harmonicon reviewer who, in a tribute to Ries published in 1824, wrote:
Mr Ries is justly celebrated as one of the finest piano-performers of the present day. His hand is powerful, and his execution is certain,—often surprising. But his playing is most distinguished from that of all others by its romantic wildness…He produces an effect upon those who enter his style, which can only be compared to that arising from the most unexpected combinations and transitions of the Aeolian harp.
- published: 24 Oct 2020
- views: 20475
28:23
Ferdinand Ries - Piano Quartet No. 2, Op. 17 (1809)
- Order: Reorder
- Duration: 28:23
- Uploaded Date: 03 Nov 2020
- views: 4295
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He compose...
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Quartet No. 2 in E-flat major, Op. 17. Vienna, 1809
Dedication: à Son Altesse, Monseigneur le Prince Ferdinand Kinsky
I. Allegro
II. Adagio mesto
III. Rondeau. Allegro moderato
Mendelssohn Trio, Berlin
https://wn.com/Ferdinand_Ries_Piano_Quartet_No._2,_Op._17_(1809)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Quartet No. 2 in E-flat major, Op. 17. Vienna, 1809
Dedication: à Son Altesse, Monseigneur le Prince Ferdinand Kinsky
I. Allegro
II. Adagio mesto
III. Rondeau. Allegro moderato
Mendelssohn Trio, Berlin
- published: 03 Nov 2020
- views: 4295
10:20
Ferdinand Ries : Symphony No. 1 in D Major : Movement 1
- Order: Reorder
- Duration: 10:20
- Uploaded Date: 26 Oct 2019
- views: 737
David Lockington conduct's Northwest Sinfonietta's performance of Ferdinand Ries' Symphony No. 1, Mvmt 1, Adagio - Allegro molto vivace.
October 12, 2019
#nor...
David Lockington conduct's Northwest Sinfonietta's performance of Ferdinand Ries' Symphony No. 1, Mvmt 1, Adagio - Allegro molto vivace.
October 12, 2019
#northwestsinfonietta #nws #davidlockington #nwsinfonietta #rialto #ferdinandries #ries
https://wn.com/Ferdinand_Ries_Symphony_No._1_In_D_Major_Movement_1
David Lockington conduct's Northwest Sinfonietta's performance of Ferdinand Ries' Symphony No. 1, Mvmt 1, Adagio - Allegro molto vivace.
October 12, 2019
#northwestsinfonietta #nws #davidlockington #nwsinfonietta #rialto #ferdinandries #ries
- published: 26 Oct 2019
- views: 737
16:16
Ferdinand Ries - Grand Variations on "Rule Britannia", Op. 116 (1817)
- Order: Reorder
- Duration: 16:16
- Uploaded Date: 25 Oct 2020
- views: 15809
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He compose...
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Grand Variations on "Rule Britannia" in E-flat major, Op. 116. Hastings, 1817
Dedication: À Mademoiselle Boode
Christopher Hinterhuber, piano and the Royal Liverpool Philharmonic Orchestra conducted by Uwe Grodd
https://wn.com/Ferdinand_Ries_Grand_Variations_On_Rule_Britannia_,_Op._116_(1817)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Grand Variations on "Rule Britannia" in E-flat major, Op. 116. Hastings, 1817
Dedication: À Mademoiselle Boode
Christopher Hinterhuber, piano and the Royal Liverpool Philharmonic Orchestra conducted by Uwe Grodd
- published: 25 Oct 2020
- views: 15809
27:44
Ferdinand Ries - Piano Concerto no. 5 in D major, op. 120, "Concerto Pastoral"
- Order: Reorder
- Duration: 27:44
- Uploaded Date: 18 Nov 2015
- views: 21795
Christopher Hinterhuber (piano), Bournemouth Symphony Orchestra, Uwe Grodd (conductor)
“The grand opening tutti of the D Major Concerto Pastoral could be by Be...
Christopher Hinterhuber (piano), Bournemouth Symphony Orchestra, Uwe Grodd (conductor)
“The grand opening tutti of the D Major Concerto Pastoral could be by Beethoven; there are even a few brief melodic hints of Beethoven’s “Pastoral” and Ninth symphonies , but as soon as the piano enters, the romantic keyboard style takes over.
Ries includes solo horn passages in both the second and third movements, the first of which functions as a link between the movements. These solos—in reality they are horn calls—employ the type of yodelling motives that are an important element of the pastoral style.
The lovely second movement Andantino is also remarkable for its orchestration: Ries omits the violins and instead employs a seductive, dark-hued combination of solo horn, solo cello, two bassoons, divisi violas, cellos and basses.
Like all Ries’s concerto finales, this movement exhibits an intriguing mix of brilliant virtuoso display, delicate lyricism and gruff, powerful orchestral outbursts.”
https://wn.com/Ferdinand_Ries_Piano_Concerto_No._5_In_D_Major,_Op._120,_Concerto_Pastoral
Christopher Hinterhuber (piano), Bournemouth Symphony Orchestra, Uwe Grodd (conductor)
“The grand opening tutti of the D Major Concerto Pastoral could be by Beethoven; there are even a few brief melodic hints of Beethoven’s “Pastoral” and Ninth symphonies , but as soon as the piano enters, the romantic keyboard style takes over.
Ries includes solo horn passages in both the second and third movements, the first of which functions as a link between the movements. These solos—in reality they are horn calls—employ the type of yodelling motives that are an important element of the pastoral style.
The lovely second movement Andantino is also remarkable for its orchestration: Ries omits the violins and instead employs a seductive, dark-hued combination of solo horn, solo cello, two bassoons, divisi violas, cellos and basses.
Like all Ries’s concerto finales, this movement exhibits an intriguing mix of brilliant virtuoso display, delicate lyricism and gruff, powerful orchestral outbursts.”
- published: 18 Nov 2015
- views: 21795
29:02
Ries - Piano Concerto No. 8
- Order: Reorder
- Duration: 29:02
- Uploaded Date: 17 Jul 2013
- views: 87995
Christopher Hinterhuber, piano - New Zealand Symphony Orchestra, Uwe Grodd conductor
For information and analysis of this work visit http://muswrite.blogspot.c...
Christopher Hinterhuber, piano - New Zealand Symphony Orchestra, Uwe Grodd conductor
For information and analysis of this work visit http://muswrite.blogspot.com/2013/07/ries-piano-concerto-no-8-gruss-den-rhein.html
For information and analyses of other works visit Musical Musings at http://muswrite.blogspot.com/
https://wn.com/Ries_Piano_Concerto_No._8
Christopher Hinterhuber, piano - New Zealand Symphony Orchestra, Uwe Grodd conductor
For information and analysis of this work visit http://muswrite.blogspot.com/2013/07/ries-piano-concerto-no-8-gruss-den-rhein.html
For information and analyses of other works visit Musical Musings at http://muswrite.blogspot.com/
- published: 17 Jul 2013
- views: 87995
30:23
Ferdinand Ries - Piano Concerto No. 3, Op. 55 (1813)
- Order: Reorder
- Duration: 30:23
- Uploaded Date: 14 Oct 2020
- views: 24698
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He compose...
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Concerto in C# minor, Op. 55 (1812?)
Dedicated to Muzio Clementi (1752–1832)
Score edited from 1st Edition and published by Daniel Vallery
I. Allegro maestoso (0:00)
II. Larghetto – (attacca) (14:43)
III. Rondo. Allegretto (19:26)
Christopher Hinterhuber and Gävle Symphony Orchestra conducted by Uwe Grodd
First Performance was in 1813 March 14, Stockholm (or earlier.) This is the 5th concerto in order of composition, 3rd in order of publication.
Naxos details:
While he was in Russia Ries began work on a new piano concerto. The autograph score of the work, the Concerto in C sharp minor, is dated 'Petersburg 1812' but the incomplete state of the manuscript suggests that it was either written in extreme haste, possibly as the composer fled the country, or that its composition was interrupted by other projects. There are several possible contenders, among them the brilliant Swedish National Airs with Variations, Op. 52, which had its première on 14 March together with the new concerto, an overture and the Sorgmarsch and Finale. The Symphony in D, Op. 23, was performed at Ries's first concert in Stockholm on 4 March 1813 and secured his election as an honorary member of the Swedish Academy of Music.
The autograph deteriorates sharply in quality from early in the second movement where the notation of the solo part becomes more and more sketchy. The left hand is excluded much of the time and a good deal of the right hand part consists of note heads and stems without specified durations. As these passages often involve elaborate ornamentation, Ries's intentions are difficult to unravel. Towards the end of the Finale, the autograph breaks off without warning and the orchestral accompaniment only is written into the score in the hand of an unknown copyist. The physical appearance of the autograph suggests that Ries began composing the work in St Petersburg in 1812 – and perhaps even dated the head of the manuscript at this time – and had reached the early part of the second movement around the time that the dramatic events of 1812 forced him to rethink his plans. It is possible that he broke off work entirely at this point and did not return to the concerto until he reached Sweden in the early part of 1813. Given the brevity of his stay there (he remained in Sweden for six weeks) he had little time to complete the work and even less time at his disposal if he were engaged in the composition of other works for his concerts. Circumstances such as these might account for the unusually poor quality of the autograph score.
The C sharp minor Concerto is an impressive work. The shadow of Beethoven can be detected at times in Ries's bold handling of the orchestra and, of course, in its general musical structure, but the style of the solo writing is recognizably Ries's own. It is certainly virtuosic – there are numerous bravura passages in the outer movements and complex, florid decorations of the melodic lines in the central Larghetto – but more remarkable is the intensely lyrical quality of the writing, the rhythmic subtlety of the accompaniments and the manner in which Ries exploits the colours of the instrument. The work also contains moments of great simplicity. In the central solo section of the first movement, for example, the piano introduces an exquisite new theme in octaves which is accompanied by tremolo strings. The slow harmonic rhythm and the hesitant piano theme lend the section an eerie, timeless quality as if to allow one a moment's repose before the battle between the soloist and orchestra is rejoined. There is nothing in the Beethoven concertos quite like this and the first review of the work (which was printed in the Allgemeine Musikalische Zeitung) emphasized the dissimilarity between Ries's concerto and Beethoven's C minor Concerto, Op. 37.
https://wn.com/Ferdinand_Ries_Piano_Concerto_No._3,_Op._55_(1813)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Concerto in C# minor, Op. 55 (1812?)
Dedicated to Muzio Clementi (1752–1832)
Score edited from 1st Edition and published by Daniel Vallery
I. Allegro maestoso (0:00)
II. Larghetto – (attacca) (14:43)
III. Rondo. Allegretto (19:26)
Christopher Hinterhuber and Gävle Symphony Orchestra conducted by Uwe Grodd
First Performance was in 1813 March 14, Stockholm (or earlier.) This is the 5th concerto in order of composition, 3rd in order of publication.
Naxos details:
While he was in Russia Ries began work on a new piano concerto. The autograph score of the work, the Concerto in C sharp minor, is dated 'Petersburg 1812' but the incomplete state of the manuscript suggests that it was either written in extreme haste, possibly as the composer fled the country, or that its composition was interrupted by other projects. There are several possible contenders, among them the brilliant Swedish National Airs with Variations, Op. 52, which had its première on 14 March together with the new concerto, an overture and the Sorgmarsch and Finale. The Symphony in D, Op. 23, was performed at Ries's first concert in Stockholm on 4 March 1813 and secured his election as an honorary member of the Swedish Academy of Music.
The autograph deteriorates sharply in quality from early in the second movement where the notation of the solo part becomes more and more sketchy. The left hand is excluded much of the time and a good deal of the right hand part consists of note heads and stems without specified durations. As these passages often involve elaborate ornamentation, Ries's intentions are difficult to unravel. Towards the end of the Finale, the autograph breaks off without warning and the orchestral accompaniment only is written into the score in the hand of an unknown copyist. The physical appearance of the autograph suggests that Ries began composing the work in St Petersburg in 1812 – and perhaps even dated the head of the manuscript at this time – and had reached the early part of the second movement around the time that the dramatic events of 1812 forced him to rethink his plans. It is possible that he broke off work entirely at this point and did not return to the concerto until he reached Sweden in the early part of 1813. Given the brevity of his stay there (he remained in Sweden for six weeks) he had little time to complete the work and even less time at his disposal if he were engaged in the composition of other works for his concerts. Circumstances such as these might account for the unusually poor quality of the autograph score.
The C sharp minor Concerto is an impressive work. The shadow of Beethoven can be detected at times in Ries's bold handling of the orchestra and, of course, in its general musical structure, but the style of the solo writing is recognizably Ries's own. It is certainly virtuosic – there are numerous bravura passages in the outer movements and complex, florid decorations of the melodic lines in the central Larghetto – but more remarkable is the intensely lyrical quality of the writing, the rhythmic subtlety of the accompaniments and the manner in which Ries exploits the colours of the instrument. The work also contains moments of great simplicity. In the central solo section of the first movement, for example, the piano introduces an exquisite new theme in octaves which is accompanied by tremolo strings. The slow harmonic rhythm and the hesitant piano theme lend the section an eerie, timeless quality as if to allow one a moment's repose before the battle between the soloist and orchestra is rejoined. There is nothing in the Beethoven concertos quite like this and the first review of the work (which was printed in the Allgemeine Musikalische Zeitung) emphasized the dissimilarity between Ries's concerto and Beethoven's C minor Concerto, Op. 37.
- published: 14 Oct 2020
- views: 24698
28:05
Ferdinand Ries - Piano Concerto No. 5 "Pastoral", Op. 120 (1814)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries...
published: 19 Oct 2020
Ferdinand Ries - Piano Concerto No. 5 "Pastoral", Op. 120 (1814)
Ferdinand Ries - Piano Concerto No. 5 "Pastoral", Op. 120 (1814)
- Report rights infringement
- published: 19 Oct 2020
- views: 24503
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Concerto No. 5 in D major, "Pastoral" Op. 120. London 1814.
Dedication: A son altesse royale Oscar I prince héréditaire de suede [also of Norway]
I. Allegro
II. Andantino
III. Rondo. Allegro
Christopher Hinterhuber, piano and the Bournemouth Symphony Orchestra conducted by Uwe Grodd
According to Allen Bradley in the liner notes to the Naxos recording, the composer's manuscript is undated making it difficult to determine exactly at what point the composer started working on this concerto. However the works dedication to Prince Oscar of Sweden, suggests that he started work on the concerto during his time in Sweden and worked intermittently on it, along with revisions to the Piano Concerto Op. 55 until around 1815-16. This would make the concerto the sixth of the composers eight piano concertos to be written. The concertos publication in 1823 came at a time when Ries was retiring from active performing and so no longer needed to keep secret the works he relied on in performance.
15:12
Ferdinand Ries - Variations over Swedish National Airs, Op. 52 (1813)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries...
published: 26 Oct 2020
Ferdinand Ries - Variations over Swedish National Airs, Op. 52 (1813)
Ferdinand Ries - Variations over Swedish National Airs, Op. 52 (1813)
- Report rights infringement
- published: 26 Oct 2020
- views: 6003
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Airs nationaux suedois avec variations, Op. 52. Stockholm, 1813
Dedicated to the Duke of Sussex
Christopher Hinterhuber, piano and Gävle Symphony Orchestra conducted by Uwe Grodd
For fun I added a review of 1815 by The European Magazine, and London Review.
Swedish National Airs, with Variations for the piano-forte by Ferdinand Ries
The title of this work would naturally lead us to conjecture that it is not of a studied or elaborate nature; the contrary, however, is the fact; and we doubt that the limits of our page will not permit a thorough and minute investigation of the pieces before us.
The introduction of the first air begins with a slow movement Largo molto, interspersed with abundant roulades ad libitum. When the direction "a tempo" is announced; the author has made use of J.B. Cramer's passage in semiquavers for three bars remaining in the base which constitutes his 35th Exercise in the second book.
The first air entitled "a cradle song" has nothing very attractive, being a monotonous kind of melody. The variations, however, are sufficiently complicated and require a very masterly command of the instrument to execute. The Larghetto is difficult and abstruse in the extreme, and appears to be next to impossible to perform in just time, so uncommonly irregular and various are the divisions of the measure: indeed the curiosity of the construction of this movement is its chief, or rather only, merit, as there is not one single bar of good melody in the two pages which it occupies.
After this we are presented with an Allegretto movement entitled "Skansk Bond Dans" in triple measure: a poor melody, but rather less monotonous, as it passes from its minor key of C into the major E-flat in the second part of the tune. .... .....
The last of these Swedish rarities is "The Miller's Dance" consisting of very confined descant of only eighth bars, but rather of a pleasing cast, though totally old and hackneyed, characteristic of no national style whatsoever, and might as well be called a Yorkshire or Devonshire Air, as to any novelty or impressive feature it contains. Upon these paltry bars also the author exhausts tremendous vollies of semiquavers, and a chain of mountainous passages occurs, sufficient to turn the performer's head giddy even before any manuel attempt to scale them. The ultimate modulation into the major of C produces a lively effect: but we cannot help acknowledging (upon the whole) considerable disappointment in this work of Mr. Ries, whom, as he is known to be a perfect master of his art, we expected to have given in these variations something very different and very superior to a dense congeries of crowded and crude difficulties, without an atom for such an unmerciful siege to our ears in a single phrase of elegant taste or affecting harmony. It is but too true that the zeal for attempting impossibilities has of late gained a desperate and fatal ground among pianists; and the excellence of the composition is estimated, not by beautiful melody united with touching harmony, but by an electric current of unmeaning notes. If this bad taste not be speedily checked, piano-forte music will be entirely alienated from the grand purpose of all music, those of delighting the ear, and affecting the heart, and will remain only an exploit of dexterity to amuse and astonish the eye, and its dignity being reduced to deserve only the same degree of esteem which we cherish for the vaulting of a tumbler, or the tricks of an adept in legerdemain.
25:07
Ferdinand Ries - Piano Trio No. 4, Op. 143 (1826)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries...
published: 23 Jul 2020
Ferdinand Ries - Piano Trio No. 4, Op. 143 (1826)
Ferdinand Ries - Piano Trio No. 4, Op. 143 (1826)
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- published: 23 Jul 2020
- views: 7067
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Trio No. 4 in C minor, Op. 143 (1826)
Dedication: Madame de Luttichan
1. Allegro con brio (0:00)
2. Adagio con espressione (attacca) (11:06)
3. Finale. Presissimo (17:00)
Mendelssohn Trio Berlin
35:08
Ferdinand Ries - Piano Concerto No. 7, Op. 132 (1823)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries...
published: 24 Oct 2020
Ferdinand Ries - Piano Concerto No. 7, Op. 132 (1823)
Ferdinand Ries - Piano Concerto No. 7, Op. 132 (1823)
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Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Concerto No. 7 in A minor "Abschieds-Konzert von England", Op. 132. London, 1823
Dedication: seinem freunde P.J. Eilender
I. Grave — Allegro con moto (0:00)
II. Larghetto con motto (17:35)
III. Rondo. Allegro (25:47)
Christopher Hinterhuber, piano and the Royal Liverpool Philharmonic Orchestra conducted by Uwe Grodd
Details by Allan Badley for Naxos liner notes:
Ries composed his ‘Seventh’ Concerto in London in 1823. He had been living in London since 1813 and had prospered there. He was very highly regarded as a pianist and composer and was also a fashionable teacher. Nonetheless, he found himself increasingly irritated by the directors of the Philharmonic Concerts and, being in a sound financial position by the early 1820s, decided to leave London and return to his native Rhineland. Before his departure he composed a brilliant new concerto which was published the following year with the title ‘Abschieds-Concert von England’ (Farewell Concerto from England). Whatever Ries’s sentiments or intentions may have been at the time he wrote the work, this title does not appear on the autograph score which is simply headed ‘Seventh Concerto for the Pianoforte with full Orchestra Composed by Ferd: Ries London 1823’. The Abschieds-Concert shows Ries working at the height of his creative powers. Alone among the concertos, it opens with a short but powerful slow introduction. A seemingly innocuous dotted figure in the horns quickly proves to be of critical thematic importance as the taut, muscular Allegro con moto unfolds. To those familiar with Ries’s concertos, the majestic opening ritornello comes as no great surprise, but once the piano enters, in A major with a new theme, the movement takes on its own distinctive quality. The solo writing is remarkably flexible and the unexpected twists and turns in the bravura writing, particularly in the long cadenza that lies at the heart of the first movement, might well have been in the mind of the Harmonicon reviewer who, in a tribute to Ries published in 1824, wrote:
Mr Ries is justly celebrated as one of the finest piano-performers of the present day. His hand is powerful, and his execution is certain,—often surprising. But his playing is most distinguished from that of all others by its romantic wildness…He produces an effect upon those who enter his style, which can only be compared to that arising from the most unexpected combinations and transitions of the Aeolian harp.
28:23
Ferdinand Ries - Piano Quartet No. 2, Op. 17 (1809)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries...
published: 03 Nov 2020
Ferdinand Ries - Piano Quartet No. 2, Op. 17 (1809)
Ferdinand Ries - Piano Quartet No. 2, Op. 17 (1809)
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- published: 03 Nov 2020
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Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Quartet No. 2 in E-flat major, Op. 17. Vienna, 1809
Dedication: à Son Altesse, Monseigneur le Prince Ferdinand Kinsky
I. Allegro
II. Adagio mesto
III. Rondeau. Allegro moderato
Mendelssohn Trio, Berlin
10:20
Ferdinand Ries : Symphony No. 1 in D Major : Movement 1
David Lockington conduct's Northwest Sinfonietta's performance of Ferdinand Ries' Symphony...
published: 26 Oct 2019
Ferdinand Ries : Symphony No. 1 in D Major : Movement 1
Ferdinand Ries : Symphony No. 1 in D Major : Movement 1
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- published: 26 Oct 2019
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David Lockington conduct's Northwest Sinfonietta's performance of Ferdinand Ries' Symphony No. 1, Mvmt 1, Adagio - Allegro molto vivace.
October 12, 2019
#northwestsinfonietta #nws #davidlockington #nwsinfonietta #rialto #ferdinandries #ries
16:16
Ferdinand Ries - Grand Variations on "Rule Britannia", Op. 116 (1817)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries...
published: 25 Oct 2020
Ferdinand Ries - Grand Variations on "Rule Britannia", Op. 116 (1817)
Ferdinand Ries - Grand Variations on "Rule Britannia", Op. 116 (1817)
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Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Grand Variations on "Rule Britannia" in E-flat major, Op. 116. Hastings, 1817
Dedication: À Mademoiselle Boode
Christopher Hinterhuber, piano and the Royal Liverpool Philharmonic Orchestra conducted by Uwe Grodd
27:44
Ferdinand Ries - Piano Concerto no. 5 in D major, op. 120, "Concerto Pastoral"
Christopher Hinterhuber (piano), Bournemouth Symphony Orchestra, Uwe Grodd (conductor)
“T...
published: 18 Nov 2015
Ferdinand Ries - Piano Concerto no. 5 in D major, op. 120, "Concerto Pastoral"
Ferdinand Ries - Piano Concerto no. 5 in D major, op. 120, "Concerto Pastoral"
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- published: 18 Nov 2015
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Christopher Hinterhuber (piano), Bournemouth Symphony Orchestra, Uwe Grodd (conductor)
“The grand opening tutti of the D Major Concerto Pastoral could be by Beethoven; there are even a few brief melodic hints of Beethoven’s “Pastoral” and Ninth symphonies , but as soon as the piano enters, the romantic keyboard style takes over.
Ries includes solo horn passages in both the second and third movements, the first of which functions as a link between the movements. These solos—in reality they are horn calls—employ the type of yodelling motives that are an important element of the pastoral style.
The lovely second movement Andantino is also remarkable for its orchestration: Ries omits the violins and instead employs a seductive, dark-hued combination of solo horn, solo cello, two bassoons, divisi violas, cellos and basses.
Like all Ries’s concerto finales, this movement exhibits an intriguing mix of brilliant virtuoso display, delicate lyricism and gruff, powerful orchestral outbursts.”
29:02
Ries - Piano Concerto No. 8
Christopher Hinterhuber, piano - New Zealand Symphony Orchestra, Uwe Grodd conductor
For ...
published: 17 Jul 2013
Ries - Piano Concerto No. 8
Ries - Piano Concerto No. 8
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- published: 17 Jul 2013
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Christopher Hinterhuber, piano - New Zealand Symphony Orchestra, Uwe Grodd conductor
For information and analysis of this work visit http://muswrite.blogspot.com/2013/07/ries-piano-concerto-no-8-gruss-den-rhein.html
For information and analyses of other works visit Musical Musings at http://muswrite.blogspot.com/
30:23
Ferdinand Ries - Piano Concerto No. 3, Op. 55 (1813)
Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries...
published: 14 Oct 2020
Ferdinand Ries - Piano Concerto No. 3, Op. 55 (1813)
Ferdinand Ries - Piano Concerto No. 3, Op. 55 (1813)
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Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Piano Concerto in C# minor, Op. 55 (1812?)
Dedicated to Muzio Clementi (1752–1832)
Score edited from 1st Edition and published by Daniel Vallery
I. Allegro maestoso (0:00)
II. Larghetto – (attacca) (14:43)
III. Rondo. Allegretto (19:26)
Christopher Hinterhuber and Gävle Symphony Orchestra conducted by Uwe Grodd
First Performance was in 1813 March 14, Stockholm (or earlier.) This is the 5th concerto in order of composition, 3rd in order of publication.
Naxos details:
While he was in Russia Ries began work on a new piano concerto. The autograph score of the work, the Concerto in C sharp minor, is dated 'Petersburg 1812' but the incomplete state of the manuscript suggests that it was either written in extreme haste, possibly as the composer fled the country, or that its composition was interrupted by other projects. There are several possible contenders, among them the brilliant Swedish National Airs with Variations, Op. 52, which had its première on 14 March together with the new concerto, an overture and the Sorgmarsch and Finale. The Symphony in D, Op. 23, was performed at Ries's first concert in Stockholm on 4 March 1813 and secured his election as an honorary member of the Swedish Academy of Music.
The autograph deteriorates sharply in quality from early in the second movement where the notation of the solo part becomes more and more sketchy. The left hand is excluded much of the time and a good deal of the right hand part consists of note heads and stems without specified durations. As these passages often involve elaborate ornamentation, Ries's intentions are difficult to unravel. Towards the end of the Finale, the autograph breaks off without warning and the orchestral accompaniment only is written into the score in the hand of an unknown copyist. The physical appearance of the autograph suggests that Ries began composing the work in St Petersburg in 1812 – and perhaps even dated the head of the manuscript at this time – and had reached the early part of the second movement around the time that the dramatic events of 1812 forced him to rethink his plans. It is possible that he broke off work entirely at this point and did not return to the concerto until he reached Sweden in the early part of 1813. Given the brevity of his stay there (he remained in Sweden for six weeks) he had little time to complete the work and even less time at his disposal if he were engaged in the composition of other works for his concerts. Circumstances such as these might account for the unusually poor quality of the autograph score.
The C sharp minor Concerto is an impressive work. The shadow of Beethoven can be detected at times in Ries's bold handling of the orchestra and, of course, in its general musical structure, but the style of the solo writing is recognizably Ries's own. It is certainly virtuosic – there are numerous bravura passages in the outer movements and complex, florid decorations of the melodic lines in the central Larghetto – but more remarkable is the intensely lyrical quality of the writing, the rhythmic subtlety of the accompaniments and the manner in which Ries exploits the colours of the instrument. The work also contains moments of great simplicity. In the central solo section of the first movement, for example, the piano introduces an exquisite new theme in octaves which is accompanied by tremolo strings. The slow harmonic rhythm and the hesitant piano theme lend the section an eerie, timeless quality as if to allow one a moment's repose before the battle between the soloist and orchestra is rejoined. There is nothing in the Beethoven concertos quite like this and the first review of the work (which was printed in the Allgemeine Musikalische Zeitung) emphasized the dissimilarity between Ries's concerto and Beethoven's C minor Concerto, Op. 37.
Ferdinand Ries
Ferdinand Ries (28 November 1784 (baptised) – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works—most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras.
Life
Ries was born into a musical family of Bonn. His grandfather, Johann Ries (1723–1784), was appointed court trumpeter to the Elector of Cologne at Bonn.
The French dissolved the Electoral court of Bonn and disbanded its orchestra, but in the early months of 1803 the penniless Ries managed to reach Vienna, with a letter of introduction to Beethoven, who had received some early instruction at Bonn from Ries's father, Franz Anton Ries. Beethoven took great care of the young man, teaching him piano, sending him to Albrechtsberger for harmony and composition and securing for him positions as piano tutor in aristocratic households in Baden and Silesia. Ries made his public debut as a pianist in July 1804, playing Beethoven's C minor concerto, Op. 37, with his own cadenza, to glowing reviews.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Ferdinand_Ries
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