Ferdinand Ries - Piano Concerto No. 3, Op. 55 (1813)
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- Опубліковано 9 лип 2024
- 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.
![ОРБАН приехал к ПУТИНУ и "отчитался" о поездке в Киев 😁 [Пародия]](http://i.ytimg.com/vi/_0ukDovOWq8/mqdefault.jpg)
It's probably the third piano concerto of Ries that I listen to. All of them are very good. Perhaps I should listen to all of his pieces!
7:21 i love how he quoted Beethoven's 3rd symphony
This piece is very beautiful. I like it much. Thank you for it.
This is a really fine piano concerto.
Until hearing this, Ries was only a name to me (took a course once, Beethoven and His Age), but he was a fine composer and should not have been pretty much forgotten. Thanks for posting this concerto!
Ferdinand Ries is really underrated
Extremely underrated!
Or overrated.
Or extremely overrated.@@thomase13
Ferdinand was a real G
4:56 this part is heavenly beautiful!
Agree! I love that part very well!
This concerto reminds me of...nothing... except Ries. The more I hear his music, the more impressed and moved I am. I wish all the sheep would open their ears and minds and stop comparing him to others. Hear his own voice. It's worth listening to.
This concerto was not for nothing his most successful piano concerto and quite popular til it got forgotten, same happened with Moscheles #3, Field #2, Hiller Concerto, Bronsart.
@@organman52 Unless you are a composer as well, you have no business calling anyone a non-entity. If you are a composer, let's see your work.
@@ihaveacoolnickname
Doesn't matter what he is. Calling anyone a non-entity (and their work 'garbage', whether you actually believe that or not) is supremely condescending. Robert is clearly just an embittered asshole, whether he's a composer or not.
"This concerto reminds me of... nothing... exept Ries"
Este es el mejor comentario que leí sobre la música de Ries.
Hay una especial obsesión en los comentarios de youtube por estar comparando a Ries. La mayoría de comentarios en vídeos de su música se trata de eso... Una manía que no pasa con otros compositores... sólo con Ries.
Estoy de acuerdo con vos.
¡¡Qué bueno poder apreciar a Ries por su música!!
@@poedlaulceap2417
Virtually every moderately successful composer (living or dead) that isn't part of the famously established canon of classical music will, and is getting, compared to some other composer from said established canon. This is certainly not exclusive to Ries.
Exquisite Concerto!
P.S. I see Ries quoting Beethoven's 4th Concerto at around 9:55 ....
Exact!
It is like an homage to his Maestro.
I believe he might be quoting the Triple Concerto's finale in the 3rd movement as well.
non conoscevo ferdinand davvero un ottimo aiutante, grazie! La prima volta che l'ho ascoltato grazie a te, pensavo fosse ludwig!
Most beautiful slow movement of a piano concerto ever. Certainly of the late-classical / early-romantic era.
More beautiful than Beethoven’s slow movement from the 3rd, 4th and 5th Piano Concertos? I definitely don’t agree with you. Ries’ slow movement is charming but that’s about all
Qu'est ce que c'est beau ❣️🙏🎶💓🎶✨
Thanks for the upload, keep 'em coming!
dedicated to Clementi wow
why is that a wow?
Splendid!
Haven't heard this before, really like it!
6:45 Great!!
Agreed. My favourite part!
Wow! Cool.
Che entusiasmo, che passione romantica e che clima eroico e tempestoso! Davvero beethoveniano!
A great composer
Bravo bravo bravo brilliance music concerto
Very nice gift ı have taken thanks TO Composer and Barje
Wow. An impressive work. I can tell even by the first movement. Great complexity, although formal simplicity.
Это романтичнее Бетховена,но на его уровне.Ай да помощники,один по пяти нотам гениальное Адажио сверстал,другой по указаниям непревзойденный Реквием дописал,какие то неувязочки получаются...а концерт то для секретаря слишком гениальный получается
Brilliant with flashes of bravura and wonderful thematic material for both orchestra and piano. Why isn’t this music performed on the concert stages?
This concerto was his most popular and most often performed also after his death. Franz Liszt heard his father Adam Liszt play it often and was according to Adam "obsessed" with it. The concerto fell into obscurity end of 19th beginning 20th Century. The same happened with Moscheles #3, Field #2, Hummel #2 and #3.
It’s likely due to the fact that music history crowns the high points of a style, and not the catalysts. We all love Liszt, Schumann, and Chopin, but it’s the Moscheles/Weber/Dussek/Vorisek/Hummel/Ries/etc generation that set the stage for the Romantic Era.
Same with the early Baroque (1620-1660) of Sweelinck/Frescobaldi/Froberger, or the early Classical (1710-1740) of Stamitz/Sammartini. It’s a shame, though; great pieces in all areas of music history
It's the one and only Ries concerto I've seen performed on a leading local chamber orchestra's concert stage. It was applauded very enthusiastically, probably also because the audience hadn't expected such a virtuosic work.
Ries was Beethoven’s copyist:
Beethoven: Will you be my copyist?
Ries: Yes please
2 years later …
Beethoven: Do you have to copy everything I write?
I mov. see W.A.Mozart Concerto k 503
i think i've downloaded more ries than any other composer - what does that tell you...ha
maybe an influence on Mendelssohn -- Piano Ct. 2
Dude was the bridge between the Beethoven and Hummel schools.
5:15
A questo punto dovrò accertarmi se l'allievo ha superato il maestro...
This one certainly reminds me of Beethoven's Third and Fourth Concertos, but also of the later Mendelssohn's Concerto for Violin and Piano in D Minor at times... also nice quote to the Triple Concerto at the beginning of the Rondo :D
II. Larghetto - (attacca) 14:43
É como escutar um Chopin clássico/romântico.
But why does his 4th concerto come before the 3rd (1809 and 1813)? (Great music)
Has to to do with publisher. Here is the list in order of composition
1. #6 (1806 but published as late as 1824)
2. #4 (1809)
3. #2 (1812)
4. #3 (1812)
5. #5 (1815-17 publ. 1823)
6. #7 (1823)
7. #8 (1826, publ. 1827)
8. #9 (1832)
#1 is a Violin Concerto.
@@bartjebartmans Thanks!
Acabei de o ouvir
Tendo trabalhado com Beethoven a mim pareceu me Mozartiano.E a ti?
26:15
Piano's first appearance: 02:24
Alright who disliked the video
Aram Khachaturian? I thought you were dead!
There are no oboes in this; gives it a darker sound.
kinda strange
No.3 sounds more Hummel compared to No.2
Ries wrote this concerto a couple of years before Hummel's 2nd and 3rd. That makes this one of the earliest piano concertos anticipating stylistic developments of future Romantic composers. Maybe even a tad before John Field.
Interesting potpourri of various styles. Wouldn't go to a performance of this, but it's wonderful for such works to be catalogued as an important part of how influential certain major figures in Classical music were.
You listen to it on UA-cam and then have to let the world know that you wouldn't go to a performance of this. What is the point again of you commenting? The potpourri thing shows also a flawed mindset.
This work blossoms in countless ways - as a scholar, I see this and future listening experiences as aid to my improvisational vocabulary at the piano and to structuring/arranging compositions; it warms me to imagine Ries showing reverence to earlier masters similarly so.
Is your potpourri comment the result of your reading similarities with later works in an anachronistic manner - in the same way that people refer to Mozart as sounding Beethovenian, instead of the other way around? As if Ferdinand Ries was living at the middle of the nineteenth century and lazily mining the styles of his predecessors?
@@paulwl3159 Yes I run into that a lot. For instance how much Hummel sounds like Chopin, etc. Many seem to not understand that pianists wrote concertos for special occasions with the idea to keep a steady income, not an easy undertaking if one looks at the competition they had. There was always this stress to keep audiences happy so they were invited back next season, for that reason the finales often had recognizable melodies and specific technical difficulties to dazzle, John Field used Irish or Scottish folksongs or melodies which sounded like one, so did Moscheles, so did Ries, etc. etc. They had to tread a fine line of being not too commercial, too showy and facile but also not too modern, the last thing they wanted was to baffle the audiences. They left that up to Berlioz, Liszt, Wagner, etc. who came from a whole different vantage point.