I would like to express my sincere gratitude for uploading this video series. I would like to briefly describe my impressions. This work is also one of my favorites. Piano Concerto No. 3 in C sharp minor, Op. 55. Composed in 1812, published in 1815. A comment from an unknown composer from Okinawa JAPAN.
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!
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.
@@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.
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
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
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.
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
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.
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 TH-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.
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.
7:21 i love how he quoted Beethoven's 3rd symphony
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!
This is a really fine piano concerto.
I would like to express my sincere gratitude for uploading this video series. I would like to briefly describe my impressions. This work is also one of my favorites. Piano Concerto No. 3 in C sharp minor, Op. 55. Composed in 1812, published in 1815. A comment from an unknown composer from Okinawa JAPAN.
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!
This piece is very beautiful. I like it much. Thank you for it.
Ferdinand Ries is really underrated
Extremely underrated!
Or overrated.
Or extremely overrated.@@thomase13
Ferdinand was a real G
Qu'est ce que c'est beau ❣️🙏🎶💓🎶✨
4:56 this part is heavenly beautiful!
Agree! I love that part very well!
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.
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.
Thanks for the upload, keep 'em coming!
Splendid!
Haven't heard this before, really like it!
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
Bravo bravo bravo brilliance music concerto
dedicated to Clementi wow
why is that a wow?
Wow! Cool.
Che entusiasmo, che passione romantica e che clima eroico e tempestoso! Davvero beethoveniano!
A great composer
Very nice gift ı have taken thanks TO Composer and Barje
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.
6:45 Great!!
Agreed. My favourite part!
Wow. An impressive work. I can tell even by the first movement. Great complexity, although formal simplicity.
É incrível como o timbre da música de Ries é parecido com o de Beethoven. E em 7:44 também tem um trêmolo que deve ter sido um dos primeiros.
Dude was the bridge between the Beethoven and Hummel schools.
i think i've downloaded more ries than any other composer - what does that tell you...ha
I mov. see W.A.Mozart Concerto k 503
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
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!
5:15
Acabei de o ouvir
Tendo trabalhado com Beethoven a mim pareceu me Mozartiano.E a ti?
É como escutar um Chopin clássico/romântico.
II. Larghetto - (attacca) 14:43
Alright who disliked the video
Aram Khachaturian? I thought you were dead!
maybe an influence on Mendelssohn -- Piano Ct. 2
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 TH-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.
Piano's first appearance: 02:24
26:15
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?
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.