Ferdinand Ries - Piano Concerto No.6, Op. 123 (1806)
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- Опубліковано 5 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 No. 6 in C major, Op. 123 . Bonn, c.1806
Dedication à Mademoiselle La Barronne Marie D'Eskelles
I. Allegro con spirito (0:00)
II. Larghetto quasi andante (15:10)
III. Introduzione. Adagio maestoso - Rondo. Allegro vivace (21:39)
Christopher Hinterhuber, piano and New Zealand Symphony Orchestra conducted by Uwe Grodd
The Piano Concerto No. 6 in C major, Op. 123, by Ferdinand Ries was composed around 1806. Composed in a proto-Romantic style, similar to the concertos of Johann Nepomuk Hummel, it also shows evidence of the influence of Beethoven's C minor Piano Concerto, Op. 37 which Ries had performed at his public debut in 1804.
The manuscript bears the notation "Bonn 1806", suggesting it was completed there. Allan Badley, in the notes to the Naxos recording comments that this would most likely make it the first of Ries's eight piano concertos to be written. Further evidence for this lies in the fact that this is the only piano concerto by Ries to provide for a cadenza at the end of the first movement, as was traditional. Publication, as the composers Op. 123 by firm of Sauer & Leidesdorf did not take place until around 1823/24.
Details by Allan Badley
The C major Concerto was composed not long after Ries completed his studies with Beethoven. The same year he wrote a Piano Sonata in C which, together with a Piano Sonata in A minor, composed two years earlier, in 1804, he published as his Op. 1 with a dedication to Beethoven. The C major Sonata represents a considerable advance over the earlier work and opens with a theme that has some similarities to that of the first movement of the concerto. Unsurprisingly, the imprint of Beethoven can be heard very strongly in both works with echoes of the Piano Concerto in C major, Op. 15, and the C minor Concerto which Ries clearly knew well. Nonetheless, the work is very different in some respects none more so than in the quality of the piano writing, which suggests Hummel rather than Beethoven in much of its detail. Ries’s handling of large-scale musical structures is confident and although he does not develop thematic material with the rigorous concentration of his teacher, he invests the music with great interest and variety through sensitive reworkings, the frequent introduction of new melodic material and the virtuoso’s flair for brilliant decoration. The lovely slow movement has a Mozartian poise and the striking opening with wind alone is a nice touch. The finale opens rather surprisingly with a cadenza before launching off into a cheerful, energetic Rondo that owes a good deal to the finale of Beethoven’s First Concerto.
Ries was almost an "second Beethoven", and this beautiful concerto (one of my many favourites piano concertos ever) is one of the great proofs from your composition's capacity. One of my favourites pieces along with the Symphony no.4 Op.110.
Each of Ries's piano concertos are unique and a joy to listen too. Orchestras need to start playing the lesser known composers instead of the main ones we always hear.
@@organman52 Yes, I see also an excess of stereotyped passagework here. But we are now spoiled, audiences back then had scarce opportunity to het to hear concertos so for them it was all fresh and new. I suspect composers knew that also and saw no problem in mass-producing music following mostly the same patterns.
@@christianwouters6764 The cliched passagework was designed to sell copies of the sheet music. Interestingly, the 1806 version doesn’t have so much of this, demonstrating how commercial pressures changed Ries’s approach to composition. (This recording is of the 1823/4 version.)
Who recorded the 1806 version?@@adamswayne
@@ClassicalMusicAndSoundtracks No one yet! The edition should be coming out next year.
well here we go again - why haven't i ever heard this music - all this forgotten neglected music will soon be available thanks to the internet - all the great music of man...
Fantastiquement beau, d'une grande richesse musicale 👏🎶💗🎶✨
How are these so good! I guess it is up to us to spread this wonderful music to the normies of classical music.
Ferdinand Ries est particulièrement intéressant à beaucoup d'égards : d'abord , directement issu de l'héritage de Beethoven dont il fut le SEUL autorisé par son maître à se réclamer avoir été son élève , Ries constitue la plus belle illustration du problème qui s'est posé à tous ses contemporains, celui de se libérer de l'influence magistrale du maître de Bonn. Le sérieux qui anime ses compositions (abondamment remarqué par ses pairs qui le tenaient en grande estime) ne l'a pas empêché d'ouvrir des voies nouvelles qui conduiront , avant Schubert, Hummel et bien d'autres, aux idiosyncrasies d'écriture de la génération des Liszt et Chopin
Amazingly this seems to be the only ever recording of this piece. I can’t quite believe that such a great piece has not been played more often. It sounds really advanced for its early date (1806), maybe not for its orchestral writing but for the piano technique. Really beautifully constructed.
This was actually published around 1823-24 (though composed around 1806). Most likely, it was reworked before publication.
Bravo bravo bravo brilliance music concerto
Refreshing, delightful, and inventive, this concerto left me with an "all's right with the world" feeling. It has both sparkle and drama, and to me the advantage of newness, so that I actually enjoyed it more than another hearing of Beethoven's C Major concerto. This one deserves to be regularly heard in the concert hall!
@@Whatismusic123 Clearly not all is right with your cognitive ability; what I have written makes perfect sense and employs good grammar. I should have perhaps thought better of using the word "newness"; I should rather have said "unfamiliarity", as it is a subjective statement, and Ries's Concerto is hardly new. As to being "schizophrenic", my statement is quite single-minded and clearly stated; are you admitting to an inability to understand lucid thoughts? As to being a "manifesto", I don't know what Ries's political views were, or if he in fact had any, but I certainly wasn't referring to them, or to mine, in my appreciative comments. I'll be kind and assume, however, that you're using the word in its more generic sense. I'm left wondering only your opinion of the Concerto. Is all right with your world?
@@Whatismusic123 What I'm trying to "understand better" is your comment here. Subjective opinions, by definition, need not be "delusional", however factually wrong they may be. I'm sure you have your own opinions regarding Ries' Concerto (which are evidently not mine), perhaps some requiring a greater musical knowledge. I'm generally of the "I know what I like" school, not having the advantage of a formal musical education. Does that preclude my understanding Ries' purpose in composing this music: to give enjoyment to the hearers, and perhaps even to make them forget, for a time, all the cares and burdens, personal and general, that the world is subject to? That, after all, is a prime objective, and a most valuable quality, that music has to offer. And, unbelievably, I'm still left wondering (but now not so much), what your opinion of the Concerto is (if you have one), and if you feel that anything's right with the world. (You'll notice that you misquoted me; I know all's not right in the world, but that all will be right with the world when Christ returns, and the music of heaven will admittedly be much greater than that provided by Ries.)
Molto toccante grazie Maestro
Stupendo grazie Maestro grazie
Now I know all sorts of folks are making the comparison to Beethoven's triple concerto with just a few hints of the op. 15 piano concerto, but I've seen many composers make an homage to these concertos (most infamously to me is Kuhlau's dangerously close brush with plagiarism of Beethoven's op. 15...). Ries here mastered the triumphal Beethoven and then some... To anyone who is a fan of Beethoven's op. 15, this is the definitive homage to that concerto in my opinion.
damn, this concerto is awesome!
Fantistica, la musica di Ferdinand Ries. I believe this is more difficult to play than Beethoven. Even Franz Liszt did not need to compose any transcription or paraphrase of this work because Herr Ries nailed it.
Nice
I hear Mendelssohn in some of the virtuous passages!
Accipiter, you hear Ries in Mendelssohn. Ries wrote this concerto three years before Mendelssohn was born!
The beginning is veeery similar to the first theme of Beethovens first symphony
That yes, and also Beethoven's triple concerto! He even puts the secondary theme in A major, has it decay to A minor, and sets the middle tutti in A minor, just like the triple concerto.
@@Cherodar d'accordissimo con te. e' proprio uguale al secondo tema del concerto per violino, violoncello e pianoforte di Beethoven.
Yes very similar harmony
The man’s job was to make copies of Beethoven’s manuscripts. I can see why he had the Master’s music in his minds haha
And echoes of Beethoven’s First Concerto in same key
Oiço um tema do Triplo Concerto de Beethoven, no primeiro movimento, não reconheço semelhança com o opus 15 daquele mestre, e, apesar de algumas semelhanças com Hummel, especialmente nos rodriguinhos, acho que Ries fez um bom trabalho, isto é, compôs uma obra original.
Very nice written ı learned this Composer by your sendings but he must be famous as THE others
Why?
@@GalacticNovaOverlord because l Like it very much indeed and ı felt lots Of good emotions deep inside my soul this is what expect from music names are NOT important for me
@@lalearkun9470 ah. I misunderstood what you said then. I though you meant the opposite 😅
9:21 Why do I love this so much.
Ries was a friend and pupil of Beethoven, BTW.
Good to see people read the info under the video.
The slow mov and finale (I could almost mistake it for early or good unangry , Beeth in a rare mood not needing to be impress but without the Hadyn tendencies and no obvious jokes . The finale is fine and now Im going to hear no. 4 and 5 Beethovenhave considerably more charm than the usually longest and most important movements : the opening but ...I agree it will be ( es muss sein ) nice to hear all the living composers more often in the coming years along with some others from the past not always accorded attention . Ries and Hummel don't merit inclusion anywhere but as pupil/associates of big names . I wonder if Beeth saw any good music from this Ries . This 6th concerto doesnt even recommend hearing the other 2 movements but I will because Im the student who writes better music than his teacher .The 7th minute here is interesting but not much . Interesting that it shows the new wave of emotional type and the scena as virtuosic type that Field and Chopin made with such individuality !
31:43 Beethoven's Choral Fantasy??
Woah you’re right
Muy flojo...se escucha la influencia de Beethoven...pero le sale un tirititito...
Ojalá usted y yo pudiéramos tener el talento para componer ese tirititito