- Performer: Nzso, Grodd Hinterhuber
- Composer: Ries
- Audio CD (Nov. 15 2005)
- SPARS Code: DDD
- Number of Discs: 1
- Format: Import
- Label: Ncl
- ASIN: B000BK53EM
- Other Editions: Audio CD | MP3 Download
- Average Customer Review: 1 customer review
Piano Concertos Opp. 23 &151 Import
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The eight piano concertos of Beethoven' friend and pupil Ferdinand Ries stand alongside those of Hummel as the most important works of their kind from the early 19th Century. Intensely lyrical and yet displaying at times a rugged Beethovenian power, Ries'
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I was duly rewarded after being favourably predisposed to his sonatas. The A flat concerto finds him in wonderful bloom, with a kind of spring-like efferverscence possibly infected by Field and which must have charmed Chopin as well. While his early sonatas display a certain homage to his master Beethoven, the A flat concerto composed in 1826, a year before Beethoven's death, is imbued with all the elements that the Viennese public must have already been accustomed to after being exposed to Hummel's groundbreaking romantic forays. Kalkbrenner, one of the foremost students of Hummel had already made his name; Ries while being the exact contemporary of Kalkbrenner, was by no means the more "advant-garde" of the two, even though his earlier sonatas speak of a language unknown to the musical public accustomed to the classicism of Mozart and Haydn when they were first published. Ries retained a sense of classicism just like Hummel, perhaps less classically poised, and providing a more direct link to Chopin and Schumman than Beethoven.
The A flat concerto opens slow but assuredly and expansively by the strings, as if one is totally immersed in the wonders of the Viennese woods in Spring. The winds and brass join and back the theme in regal force and the creative modulations and interplay of instruments provides an unconventional cadence for the piano's entry, very much similar to Ferdinand Hiller's third concerto. The development takes its cue from Hummel and Mozart. The ethereal second movement invokes the world of Field and is a direct anticipation of Chopin. The rambunctious third movement gets better with more hearings. There is little doubt that Hummel's last concerto in the same key composed three years later would have taken a cue from the work of his younger colleague.
The much earlier work, the C major concerto with a misleadingly late opus number is perhaps a tad too long, ambitious as it sounds, it seems to straddle between an attempt to move away from the sound world of Beethoven but remaining entrenched in it nevertheless.
The album alone is worth keeping and relistening for the masterly A flat concerto, which definitely deserves to be performed more regularly in the concerto repertoire.
usefull this Ries fellow of course forms a vital part of any comprensive collection...
....bravissimo.... signed: magnum....