Christopher Hinterhuber (piano), Bournemouth Symphony Orchestra, Uwe Grodd (conductor)
“The grand opening tutti of the D Major Concerto Pastoral could be by Beethoven; there are even a few brief melodic hints of Beethoven’s “Pastoral” and Ninth symphonies , but as soon as the piano enters, the romantic keyboard style takes over.
Ries includes solo horn passages in both the second and third movements, the first of which functions as a link between the movements. These solos-in reality they are horn calls-employ the type of yodelling motives that are an important element of the pastoral style.
The lovely second movement Andantino is also remarkable for its orchestration: Ries omits the violins and instead employs a seductive, dark-hued combination of solo horn, solo cello, two bassoons, divisi violas, cellos and basses.
Like all Ries’s concerto finales, this movement exhibits an intriguing mix of brilliant virtuoso display, delicate lyricism and gruff, powerful orchestral outbursts.”