Ries: Piano Concertos Vol. 4 (Piano Concertos Opp.115/ 120/ Introduction Et Rondeau Brillant) [CD]

Following Naxos' series of discs devoted to the Ries piano concertos has been as rewarding an experience as was subscribing to the CPO edition of his symphonies (the first volume of which could really be said to have started the remarkable - and very welcome - reversal of fortune his music has experienced over the past decade). Like those symphonies, the concertos are traditional in form but their content reflects some of the stylistic changes that were occurring during the Early Romantic period. If you are familiar with the concertos of Hummel, they provide a useful reference point, but some commentators have also suggested that his keyboard writing occasionally foreshadows that of Chopin.*

The `Pastoral Concerto', No. 5 in D major, is notable for its flowing lyricism and the prominent role accorded to the horn - a wonderfully evocative horn solo concludes the serenely poised `andantino' and the instrument's sonority informs many passages during the opening and concluding movements too. Echoes of Beethoven's sixth symphony sound across Ries' Arcadian landscape, of course - the relatively static harmonic rhythm recalls the opening movement of Beethoven's "Pastoral" and Ries also utilises other stereotypical devices of the pastoral genre (even phrasing, drones, woodwind solos, etc) but this is far from being a derivative sounding work. In fact, I'd say it is one of the most immediately appealing among his piano concertos and there is much that you will recall with pleasure afterwards - the way the horn, clarinet and flute call out to each other around six minutes into the bubbly finale, for example. What a shame that uplifting music such as this has had to wait almost two hundred years for its renaissance.

The C minor concerto is remarkable, not perhaps for the `sturm und drang' turbulence it occasionally evinces, which you might well expect in this key at this period, but more for the atmospheric, dark-hued entry of the primary material and Ries' eschewal of the grandiose opening tutti. The movement ends in an understated way that complements those opening bars. If the pastoral elements of the fifth concerto locate it within the Classical tradition somewhat, this opening movement shows how Ries was aware of the developments heralded by the burgeoning Romantic movement. It is followed by tender, song-like `molto adagio' which opens with a passage for the horn, and that instrument's warm tones inform much of the movement that follows. Something of the delicacy of the `adagio' is carried forward into the finale, a tuneful `allegretto' that is notable for the colourful interplay of the woodwind.

A late work, of the display kind so popular at the time, rounds off the programme - and fairly generously too, as the `Introduction Et Rondeau Brillant' comes in at almost twenty minutes long. It is an enjoyable piece, if not perhaps as striking as the two concertos.

As with the other releases in this series, the recorded sound is very good, natural and clear; Christopher Hinterhuber is an inspired guide to the music, as the first release suggested he would be, delivering Ries' demanding (technically and expressively) keyboard writing with aplomb. He is accompanied in fine style by the Bournemouth Symphony under Uwe Grodd and their horn and woodwind sections deserve especial mention for their playing in both concertos but especially in the `Pastoral'.

This is, I think, my favourite of the Naxos/Ries piano concerto discs and, if you haven't been following the series so far, it would make an admirable introduction to this valuable recorded edition.

Very warmly recommended.

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* Gerald Abraham lists the features of his keyboard writing as combining "the style of Dussek, Italian `morbidezza' and `yearning' appoggiaturas". [`The Concise Oxford History of Music', Gerald Abraham; OUP, 1979, rev. 1986.]

How on earth have I,after collecting classical music for over 50 years, Not previously heard of Ferdinand Ries ?. This collection is absolutely superb. It appears Ries was a pupil of Beethoven and later became his life-long friend and collegue.If you close your eyes and do not look at the composer on this disc you would swear it was Ludwig himself.Ries exactly matches the intensity and depth of feeling enjoyed by Beethoven,

Do buy this CD----You won`t be disappointed.

By the way,another confident of Beethoven was Muzio Clementi-His sonatas and sonatinas are equally enchanting.

I was aware of Ries after reading many books about Beethoven but I had never heard any of his music. These recordings are simply stunning and it is difficult to understand why he is not heard more often. Perhaps he will be now, after these Naxos releases. Listening to Ries' music is an eerie experience. There is a strange familiarity about this very hybrid mix of many composers, both classical and romantic, with the spectre of Beethoven looming over them all. Very entertaining and very tuneful. It is like finding a new author and relishing the prospect of ploughing through all his books. I can't wait. I have now ordered a boxed set of all his symphonies.