I would like to express my sincere gratitude for uploading this video series. Here I would like to present my thoughts on Ferdinand Ries. One of my favorites, Concerto No. 7 in A minor for Piano and Orchestra, Op. 132. Composed in 1823. Published in 1824. Ferdinand Ries is one of those composers who have been pushed into obscurity in present day. He is known to some extent as one of Beethoven's top disciples and as a memoirist, but I'm not the only one who thinks that his work as a composer has been unfairly evaluated. He is located between the so-called classical and romantic periods and had a great influence on Hummel and Chopin. I would like to state that we are in an era where we should properly evaluate his achievements. A comment from an unknown composer from Okinawa JAPAN.
The way that Ries plays with the parallel major in the first movement keeps you in suspense throughout. It's almost as if the piece is in A (generalized) rather than A minor specifically. It reminds me of the first movement of Beethoven's fifth, the way you are not actually sure what key the piece will end in. But I think Ries actually does it better than Beethoven by switching to the parallel major right away during the piano exposition and the (spoilers) surprising switch back during the coda. It sounds like he heard what Beethoven did and took it a step further.
Prachtig, sprankelend pianospel. From Wikipedia: Christopher Hinterhuber (born 28 June 1973) is an Austrian classical pianist. Hinterhuber was born in Klagenfurt, Austria, and studied with Rudolf Kehrer and Heinz Medjimorec at the university for Music in Vienna, and with Lazar Berman at the Accademia Pianistica in Imola, Italy. He also attended master classes with Dmitri Bashkirov, Oleg Maisenberg, and Murray Perahia. In 2001, he won the second prize at the Beethoven Piano Competition in Vienna, Austria, and also performed in Michael Haneke's film The Piano Teacher (his musical performances and his hands were used in the film).
Remarkably fluent work of formidable professionalism, ambition, and dazzling technical authority. Brilliant performance and recording. Thank you for posting with invaluable scrolling score! Is it true, as Schindler is purported to have written in his biography, that the work's gestural similarities to Ries' mentor incurred the master's, and Schuppanzigh's, concerns? (cf. Beethoven's Letters, Dover publications, p. 309). Notwithstanding, a flamboyantly engaging work.
What a great Concerto! For me, Ries' 7th stands unashamedly with any of Hummel's - and dare I say Beethoven's? (No, perhaps I shouldn't - there is the "Emperor" after all.) Ries' first movement has distinguished themes and development; the marvelous "Larghetto" is by turns meditative, celebratory, and dramatic; the concluding "Rondo" ends the work in a delightful fashion.
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year And then whats the most relentless, driving piece youve heard this month
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year And then whats the most relentless, driving piece youve heard this month
@@supasayajinsongoku4464 This month? I will reference May since it's only been 4 days into June. I would say Galanyin's Piano Concerto or Krasikov's Mephisto Dances.. For most beautiful probably something from Xavier Foley.
what is quite "surprising" is that even if Ries survived Beethoven his music style is actually more similar to the first Beethoven, as if he tried to get back from Beethoven's legacy to a more classical style. This tendency to "look back" is perhaps the reason why, although most of his music is nice to hear and also valuable, the history has not secured him a place within the great composers.
Ries was a pragmatic. He wrote mainly for income, for his own concerts, recitals, friends and the occasional student/patron who commissioned works from him. I never get the feel he was interested to be some kind of innovator or trailblazer like his friend Beethoven was. Ries was a good business man, he even got Beethoven a commission for his 9th Symphony in London. It says a lot that they were lifelong friends, as Beethoven was notoriously difficult to get along with.
@@bartjebartmans Idd, Ries wist perfect wat het publiek wilde, iets wat Van Beethoven zich minder aantrok. Het arsenaal van harmonische formules dat telkens terug komt bij Ries wordt nu nog altijd constant gebruikt in pop- en filmmuziek.
@@bartjebartmans Slightly unrelated but whats the most beautiful piece youve heard this month or even this year And then whats the most relentless, driving piece youve heard this month
with all this music by ries now available it's apparent that he has complete mastery of the piano as a solo instrument - as a student of beethoven i'm wondering what his former teacher thought of his music - could beethoven hear this in his mind by reading the score...
Most composers can read scores in their heads. Beethoven wrote some of his best music when he was completely deaf. With a little bit of decent training you also will be able to read scores in your head. That's why solfege classes are so important.
If Beethoven could compose the Ninth Symphony while being completely deaf, I'm sure he could imagine what these scores sounded like while reading them.
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year And then whats the most relentless, driving piece youve heard this month
I would like to express my sincere gratitude for uploading this video series. Here I would like to present my thoughts on Ferdinand Ries. One of my favorites, Concerto No. 7 in A minor for Piano and Orchestra, Op. 132. Composed in 1823. Published in 1824. Ferdinand Ries is one of those composers who have been pushed into obscurity in present day. He is known to some extent as one of Beethoven's top disciples and as a memoirist, but I'm not the only one who thinks that his work as a composer has been unfairly evaluated. He is located between the so-called classical and romantic periods and had a great influence on Hummel and Chopin. I would like to state that we are in an era where we should properly evaluate his achievements. A comment from an unknown composer from Okinawa JAPAN.
The way that Ries plays with the parallel major in the first movement keeps you in suspense throughout. It's almost as if the piece is in A (generalized) rather than A minor specifically. It reminds me of the first movement of Beethoven's fifth, the way you are not actually sure what key the piece will end in. But I think Ries actually does it better than Beethoven by switching to the parallel major right away during the piano exposition and the (spoilers) surprising switch back during the coda. It sounds like he heard what Beethoven did and took it a step further.
Совершенно верно...значительно дальше
Prachtig, sprankelend pianospel. From Wikipedia: Christopher Hinterhuber (born 28 June 1973) is an Austrian classical pianist. Hinterhuber was born in Klagenfurt, Austria, and studied with Rudolf Kehrer and Heinz Medjimorec at the university for Music in Vienna, and with Lazar Berman at the Accademia Pianistica in Imola, Italy. He also attended master classes with Dmitri Bashkirov, Oleg Maisenberg, and Murray Perahia. In 2001, he won the second prize at the Beethoven Piano Competition in Vienna, Austria, and also performed in Michael Haneke's film The Piano Teacher (his musical performances and his hands were used in the film).
Another marvellous yet neglected composer. My favourite concerti are numbers 3 and 9.
the development sections must have inspired Chopin
Remarkably fluent work of formidable professionalism, ambition, and dazzling technical authority. Brilliant performance and recording. Thank you for posting with invaluable scrolling score!
Is it true, as Schindler is purported to have written in his biography, that the work's gestural similarities to Ries' mentor incurred the master's, and Schuppanzigh's, concerns? (cf. Beethoven's Letters, Dover publications, p. 309). Notwithstanding, a flamboyantly engaging work.
What a great Concerto! For me, Ries' 7th stands unashamedly with any of Hummel's - and dare I say Beethoven's? (No, perhaps I shouldn't - there is the "Emperor" after all.) Ries' first movement has distinguished themes and development; the marvelous "Larghetto" is by turns meditative, celebratory, and dramatic; the concluding "Rondo" ends the work in a delightful fashion.
To be honest, only Beethoven's Emperor is a better concerto. The rest of Beethoven's are easily on par with these 9 concertos by Ries.
@@FreakieFan Beethoven's 4th??
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year
And then whats the most relentless, driving piece youve heard this month
Да! И еще раз да!!!!
Так всетаки Хаммель,Хуммель или Гуммель?
He always knows how to start and end a piece. I am always satisfied.
Always an epic piano entrance with Ries!
Love it.
The ending of the first movement of his fourth symphony😍😍😍😍
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year
And then whats the most relentless, driving piece youve heard this month
@@supasayajinsongoku4464 This month? I will reference May since it's only been 4 days into June. I would say Galanyin's Piano Concerto or Krasikov's Mephisto Dances.. For most beautiful probably something from Xavier Foley.
@@aramkhachaturian8043 thank you for your depthful reply
Bravo bravo bravo bravo brilliance music concerto
Outstanding piece!
I love you Channel! ❤️❤️❤️
Solo stupendo grazie Maestro
Thank you for this!
what is quite "surprising" is that even if Ries survived Beethoven his music style is actually more similar to the first Beethoven, as if he tried to get back from Beethoven's legacy to a more classical style. This tendency to "look back" is perhaps the reason why, although most of his music is nice to hear and also valuable, the history has not secured him a place within the great composers.
Ries was a pragmatic. He wrote mainly for income, for his own concerts, recitals, friends and the occasional student/patron who commissioned works from him. I never get the feel he was interested to be some kind of innovator or trailblazer like his friend Beethoven was. Ries was a good business man, he even got Beethoven a commission for his 9th Symphony in London. It says a lot that they were lifelong friends, as Beethoven was notoriously difficult to get along with.
@@bartjebartmans Idd, Ries wist perfect wat het publiek wilde, iets wat Van Beethoven zich minder aantrok. Het arsenaal van harmonische formules dat telkens terug komt bij Ries wordt nu nog altijd constant gebruikt in pop- en filmmuziek.
@@bartjebartmans Slightly unrelated but whats the most beautiful piece youve heard this month or even this year
And then whats the most relentless, driving piece youve heard this month
31:45
with all this music by ries now available it's apparent that he has complete mastery of the piano as a solo instrument - as a student of beethoven i'm wondering what his former teacher thought of his music - could beethoven hear this in his mind by reading the score...
Most composers can read scores in their heads. Beethoven wrote some of his best music when he was completely deaf. With a little bit of decent training you also will be able to read scores in your head. That's why solfege classes are so important.
If Beethoven could compose the Ninth Symphony while being completely deaf, I'm sure he could imagine what these scores sounded like while reading them.
@@bartjebartmans Solfege classes, when taught by the right teachers, are the most fun aspect of music!
Nice surprise. After a long and boring intro in a minor the soloist jumps in in the major key. I know of no other concerto where this happens.
You must be missing literally every other interesting and unique moment in this piece then
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year
And then whats the most relentless, driving piece youve heard this month