Ferdinand Ries - Piano Concerto No. 9, Op. 177 (1833)
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- เผยแพร่เมื่อ 28 ก.ย. 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. 9 in G minor, Op. 177.
Dedicated to Monsieur le Comte Etienne de Fáy (poss. 1770-1845)
1. Allegro
2. Larghetto con moto
3. Rondo. Allegro.
Christopher Hinterhuber, piano and New Zealand Symphony Orchestra conducted by Uwe Grodd
Details by Richard Wigmore
By the time he composed the piano concerto No 9 in G minor, Op 177, around 1832-33 (the exact date is unkown), Ries and his wife had moved from Bad Godesberg to Frankfurt am Main. By then his star as a virtuoso performer had faded, though he conducted his own and other composers’ works at the Lower Rhine Music Festivals, and still occasionally played in public.
To judge by the technical challenges of this, his last concerto, Ries had lost none of his former dexterity. Musically, too, the concerto, scored for the same forces (without oboes) as the A flat concerto, is no less inventive than its predecessor. The first movement, darker in mood and colouring than its predecessor, initially seems to be in B flat, with a four-note ‘tapping’ figure on pizzicato strings that sounds like a homage to Beethoven’s violin concerto. Woodwind then gently establish the ‘proper’ key of G minor with the plaintive main theme. A second theme, proposed by the strings and repeated evocatively on the horns, turns out to be a variant of the first. Many of the ploys used effectively in the A flat concerto recur here, including the dramatic entry of the soloist (at the apex of an orchestral crescendo), and the introduction of a new, romantically lyrical theme in the development. The powerful modulating sequences that follow this theme suggest the ‘romantic wildness’ noted in the Harmonicon’s review of Ries’s playing.
Opening with a fortissimo statement of the main theme, the recapitulation is even more radically compressed than its counterpart in the A flat concerto-further confirmation that Ries was minimally concerned with the Classical proportions of Mozart and Beethoven. The music quickly brightens, via the initial tapping motif, from G minor to G major, and remains there for the rest of its course.
Like the slow movement of the A flat concerto, the larghetto con moto in D major is a richly ornamented romantic nocturne, with the piano’s delicate filigree subtly coloured by woodwind and horns. This is bel canto opera by other means. At the movement’s centre the rapt mood is disturbed by a series of rhetorical exchanges between keyboard and orchestra, beginning in the far-flung key of E flat. The music gradually ebbs in a shimmer of keyboard figuration. The rondo then bursts in with a theatrical crescendo, followed by playful keyboard flourishes, before the full orchestra announces the Hungarian-style main theme. From here on the movement follows a pattern similar to its counterpart in ‘Gruss an den Rhein’: a new lyric theme in the first episode, a romantically flexible piano cantabile in slower tempo for the second, delicately glossed by flutes and clarinets. Throughout the movement the mercurial piano figuration flits and glints through a kaleidoscopic range of keys, before the coda finally settles in G major. Here Ries whips up the tempo and caps his bravura exploits with a display of rapid semiquavers in octaves and thirds-the kind of piano texture pioneered by Clementi and Dussek, and pushed here to a new level of brilliance.
Ries numbered his Violin Concerto as #1, his first piano concerto as #2 and so on.
My favourite Ries concerto, along with no.3. I learned it when we were all confined by the pandemic in 2020. In both the first and last movement, the middle sections are so beautiful. The orchestra is treated very well, too. Fabulous work.
Wonderful! I love trying to visualize these concerts as theatrical exploits in my head. My 3rd great-grandmother, Sarah Jane Rousseau was a private student of Ferdinand's from about 1818-1824 (while he was in London). She became a well-sought-after musician and teacher to the upper classes in America after that.
This is absolutely a wonderful concerto. One of the best ever. Thank you very much Bartje Bartmans.
Que hermoso Concierto para piano , bellísimo ♥️♥️
This is the last concerto written for piano by Ries. This masterpiece begins with an Allegro where the influence of Beethoven is noted, however with some originality that distinguished from this one. The romantic lyricism that intersects the moments of greatest musical intensity are proof of this, a case less frequent in Beethoven. The Larghetto is admirable and charming.
Ries, was one of the great composers and pianist of the Classical-Romantic period and as I have already mentioned he should have the prominent place that would be fair.
The concerto ends with a Rondo, Allegro full of strength and joviality and divine harmony.
The pianist is amazing for the sublime way he interprets periods of great musical intensity as those of greater sensibility. The orchestra and its direction are magnificent. Viva Ries and his great and superb music. Thanks for this remarkable recording.
It's easy to judge these lesser known composers with, the well known musical giants of the time.
Yes you could say that it contains hints of Chopin, Mendelssohn etc. And tbh, I can't really detect much Beethoven in this either.
Ries was a mature composer by the time this was written. And he had hit upon his own, individual style.
The piano writing in this is astonishingly good.
@@mstawse2966 The lesser knowns are just as good, maybe better? LOL! Music is nothing like fashion when it comes to the truly great composers. Some music critics are idiots and you have comfortably joined their ranks.
ries might be a lesser known composer but he is a master at what he does - beethoven taught him well...
The third movement is especially moving. Just beautiful!
As his descendant, I thank you
Really enjoyed listening to that......plenty of lovely twists and turns.
great work, at some points quite original... must say I'm impressed!
Это просто замечательно. Не надо его сравнивать с Бетховеном или с кем - то еще другим.Он сам по себе велик.Мы же не сравниваем Бетховена с Бахом.
If there's one thing all of Ries' concertos have in common is their monstrous virtuosity. There is a majesty about the simple, broad and thickly orchestrated themes in the first movement that I really like. The "Gypsy Rondo" (or at least, that's what it sounded like to me) was an excellent movement, with really enjoyable tutti sections breaking up the flutters of the piano. Interesting in the description it's said that this concerto borrows from technique of Dussek, as the Bohemian flare of his g minor concerto is similar to the flare that makes this concerto such a good listen.
Восторг и восхищение от такой музыки Ferdinand Ries супер
Magnifique 🎶💓🎶✨
Merci
Qué concierto tan maravilloso, es alucinante escuchar a Ries. Un virtuoso del piano, no me cabe duda alguna. ¡Pooooom, poommmmm! Guau!
Ries has never disappointed me with his works. A tremendous composer that should be revered.
Отличное произведение и исполнение супер. ПРОИЗВЕДЕНИЕ Ferdinand Ries МОЖНО СЛУШАТЬ БЕСКОНЕЧНО.
Какого еще "Райса"? Он был немцем, а не англичанином. Произносится " Рис".
@@Queeen7q Ferdinand Ries was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. Всё верно. Извиняюсь
Overall, this may be the best of Ries' Concerti. It is formally secure and melodically inspired, even if somewhat emotionally distant. Highlights are the coda of the 'larghetto' and the lighthearted Mozartean finale that tempers the more serious nature of the preceding movements.
How Ries is not in "Inmortal Beloved" or other Beethoven films?
if i am remembering this right he is in the movie "eroica"
Because he isn't significant.
The description says he copmosed 8 piano concertos, and yet this is a video for no. 9! Interesting to hear these lesser known composers
Ries numbered his Violin Concerto as #1, his first piano concerto #2 and so on.
Hello Mr. Bartman. I have a question. Why are these scores shown in two parts, as if a piano reduction, for the whole orchestra? It's very easy for me to understand as a pianist. Thank you. Btw thank you for showing this music!
This was standard print for those days. That way the pianist at home (which were literally thousands) could play a concerto including orchestral tutti's in one flow, without the tricky going in- and out of second piano to first piano. The repertoire got also more accessible this way for the amateur.
@@bartjebartmans I see, thank you. Yes, I am more of an amateur, and this is very helpful! Hope I can find more of these scores one day. Good day o/
La quinta sinfonía de Beethoven hecha concierto para piano.
Description says he composed eight piano concertos
The concerti are numbered from 1 to 9, however #1 (Opus 24) is for violin and orchestra.
👎
He is shamelessly stealing from Beethoven. Here from the Emperor concerto. It is rather embarrassing. Melodic ideas, harmonic patterns, piano figures.
Out of all his concerti, I think I enjoy this one the most. Even though it's in a minor key, I find it to exude triumph over a long journey. It's almost like Ries looked back on his career, saw how much he accomplished, and focused that feeling into this work. Again, thank you for uploading these hidden gems.
Both outer movements do end in major though, so that surely has to do with at least some of what you're feeling about it!
It's funny, how people react differently to the musical keys. I always prefer minor key concertos and symphonies. I enjoy both major and minor keys but for me, minor key pieces are more moving. For example, Mozart's Piano Concerto No. 20 and his Symphony No. 40 are very touching. It's the same with Chopin's two piano concertos.
Thank you very much for uploading this video series. Piano Concerto No. 9 in G minor, Op. 177. Composed in 1832. Published in 1833. This is my favorite piece. I believe this piece influenced Hummel and even inspired also Reinecke of later. Comment from an unknown composer from Okinawa JAPAN.
1. Allegro - 00:07
2. Larghetto con moto - 13:22
3. Rondo. Allegro - 20:46
It,s unthinkable why this composer has been forgotten so many years.I listen to his works more than Beethoven,s one’s.His nine piano concertos leave speechless for its virtuosity and ………
Não haveria Ries sem Beethoven. Estude a evolução do concerto para piano e não menorize quem, como Mozart e Beethoven, contribuíram para o seu desenvolvimento de uma forma ímpar. E olhe para as datas, Vicente, as datas explicam muita coisa.
I was moved to tears by the shift from minor to major at around 11.15, commonplace as that move is in Romantic piano concertos--this was so special, nonetheless, like heavenly light dawning on a stormy sea. It seems that if he thought of a cadenza he was too caught up in the flow and perfect form of the first movement to stop it for some meaningless showoff. It just gets better from there. Thanks Bartje!!
4:39
there is a very similar moment in Tchaikovsky's piano concerto No. 1.
Grazie Maestro molto bello complimenti
2nd mov't is supreme, 3rd is brilliant. But I can't stop reminding some passages from 1st mov't his teacher Beethoven.
True art transcends time, as they say at my local silent film festival!
Lovely second theme in the last movement!