Abhik Mazumder “very prophetic of Chopin” totally agree

The orchestral writing seems to anticipate Schumann at times. But Ries need not take a back seat to anybody, really...

Chopin had played some of his works as early as when he was still in Poland

But how can he be reminiscent of Beethoven while they lived at the same time???

Ries was a Beethoven student. One very imitative...

TY

I am going to conduct his music.

You can just hear his love and respect for Beethoven in this, can't you?

Ferdi, not Fredi

Tao bom encontrar alguem do Brasil ? ou de Portugal ? que dá um sinal de existencia e interesse, e logo por Ferdinand Ries. Eu executei obras cameristas dele, muitos anos atrs no Brasil. Mas os concertos sao fantasticos, a gente poderia organizar um Festival Ries !

Listen to Justin Bieber from time to time .............;)

Merci....mais trop tard! J'ai été transféré à Guantánamo pour mes gouts non-conformistes. J'attends ton arrivée ...haha

Essaie aussi Howard Hanson, c'est divin, et bon courage alors............ ;-)

+Richard Bonchen Ferdinand Ries was a Classical-Romantic composer. He's most well known as one of Beethoven's pupils, as well as his personal friend and secretary.

Thank you! No wonder he is so excellent! His style is similar to Beethoven.

Richard, I'm so glad that you've discovered the deliciously satisfying; sweet as peanut butter and chocolate, music of Ries. This is one of the best of Ries's Pieces

I think same

A great friend and aid to Beethoven.

As this concerto was written some 20 years before Schumann's - I'd say that Schumann included a phrase from Ries ;)

Totally my fault, or oversight. I should have known better, although I had forgotten the date of the Schumann. Thanks for the correction.

Also reminiscent of Beethoven's 3rd symphony. Interesting stuff!

Well, I suppose we will never know, however, as I listen, I think it's good, but it lacks individual character - for instance, Rachmaninoff sounds like Rachmaninoff, Chopin as Chopin, but with Ries, for example it just lacks distinction. However, I am not saying I think it's bad. I was just wondering why it is that some are remembered and others not, considering they all know what they're doing. Also, though, you can transfer that individualism to movies (directors). There are those who are themselves, and become successful, and those who imitate.

+Henrik Larsen If you really feel like this, listen to Kalkbrenner or Joseph Deszczynski - then you'll find how much they sound like Chopin, a few years before Chopin's piano concerto. Then you can also look at music history, which reveals a few interesting facts about people like Fibich, or even Liszt himself getting into disagreements with their fellows and made some lives (and their works) a bit difficult to survive (Joachim Raff being involved in the latter case). No, it's very often not the 'guilt' of quality, only the behaviour of 'academia' that stands behind some excellent works having almost disappeared. After all, a pianist can't learn all works by Chopin, Beethoven, Schumann, Brahms and Liszt after Bach and Mozart, and then expected to add a few hundred others like by Scharwenka, Bortkiewicz or Ries, all in the few years of getting up to fame. And where would they perform the latter, which competition would accept a Reinecke or Sgambati concerto to be performed in the finals instead of Tchaikovsky or Rachmaninoff? No, the answer is almost always the establishment. Thank heavens, some sometimes discover these pieces as well, somehow, and even find a conductor with an orchestra, and they manage to record the performance, then someone like this person or another to publicise the recording. All thanks to such people.

Interesting discussion. I think it is also the nature of learning about the history of something. I think in all the arts, there is a standard kind of presentation of master works. People will initially look at the different periods through time with a small number of creative people that represent a high level of achievement in that age. I also think in terms of this it is partly also about the artist's journey (Beethoven is a great example of this, we see him exploring, developing and evolving his creative process.) Some people (who call themselves classical music lovers) might only be familiar with a few Mozart piano concertos and a couple of Beethoven piano concertos. Others might know all these 2 composers works. Some might play them all. Some people might love exploring the changes in styles through the major composers into the 21st Century and have a detailed knowledge and fascination with the latest creations, where others love exploring the subtle differences between the late classical/early romantic composers. I really enjoyed listening to this concerto tonight for the first time, and I've only just recently started listening to lesser known composers from this period. It can feel quite shocking how many brilliantly talented composers there are. But if I compare this music say with Schubert, whose inner voice sings its own unique wonder with such individuality, or the sublimity of Chopin's concertos, I can see how the history makers don't include this music, as wonderful as it is, into the story of the great geniuses. Though I agree that music like this should have a lot more opportunies for performance

David Carter, excelente comentário!

You must enjoy a huge library of pieces with which to make your comparisons. With my limited resources and knowledge I must settle for enjoying this wonderful piece

面白い(≧∇≦)😆😆😆

Hummel does not belong in the same conversation

Why not?

"whom I rather prefer to the boy from Bonn." Shows how much you really know about music. Hummel's b minor is something of a pre-Romantic masterpiece, though, but still not in the same league as about 4 of Beethoven's piano concertos. (The B-flat is a weak work, however.)

Beethoven's concerto in B flat major is not weak but a buoyant work when played with proper 18th century articulation.

Beethoven complained about Ries every way possible after Ries secured a kappellmeister post in Westphalia which Beethoven greatly wanted. Beethoven's acute and protracted fits of anger are well documented and need to be taken "with a grain of salt".

Derivative and uninspired? in what way? The finale particularly hardly lacks originality. The cadenzas are an added treat you seldom find with Beethoven and appear to predate Chopin. This is the first piece of Reis' music I've ever heard and am astounded he's not in the repertoire. I look forward to discovering more of this "unknown."

I have never understood the tendency many people have to misspell a four letter name, even when the correct spelling is right in front of them. Since I have the same family name as the composer, I've seen this all my life and at this point, I find it mildly amusing.

it is unfortunate that being knowledgable about music and able to find fault with this piece, you are presumably unable to enjoy it. Then I will wallow in my musical ignorance as I found it to be absolutely gorgeous. My grateful thanks to the provider of this gem

In your [presumably] anglophone milieu, you must often find yourself mispronounced as a plural of 'rye', and also misspelled as the Welsh name 'Rhys'. Hopeless, eh? Well now, if you're any relation to Ferdinand (i.e. of Rhineland origin?), then I hope you're musical too!

@@ArgentineFootballfan1978 Yes, all the secundary composers (Ries/Moseless/Cherny/Herz........) have many problems: Mozart kv 467/kv 299, Beethoven op.37/op.73/op.40/op.50, Chopin op.11/op.36/op.52/op.54, Liszt ballade1+2/un sospiro/tarantelle/rigoletto...............................................

shut the fuck up, he is amazing