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Ferdinand Ries - Piano Concerto No. 3, Op. 55 (1813)
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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.
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.
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