Guest
Ferdinand Ries - Piano Concerto No. 6 in C major, Op. 123, Christopher Hinterhuber (piano), New Zealand Symphony Orchestra , Uwe Grodd (conductor) I. Allegro con spirito – 00:00 II. Larghetto quasi andante – 14:58 III. Rondo: Allegro vivace – 21:27 Ferdinand Ries (28 November 1784 – 13 January 1838) was a German composer. He was, after Ludwig van Beethoven, the most significant composer of the city of Bonn. He was one of the greatest pianists of his time and a composer of exceptional abilities. Ries studied pianoforte (but not composition) with Beethoven in Vienna and the two men remained on cordial terms for the rest of their lives. In the last year of his life Ries co-wrote a book of Beethoven reminiscences that remain one of the most valuable sources of information about his life and character. During his lifetime he was renowned as a virtuoso pianist and composer throughout the whole of Europe (unsurprisingly left an important body of works for pianoforte and orchestra). He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. The C major Concerto was composed not long after Ries completed his studies with Beethoven. Here is an example of the regard Beethoven had for his pupil Ries (from 'Anecdotes of Great Musicians' by Willey Francis Gates, one little story that probably may be accepted): “ Upon Ries' first appearance in public as Beethoven's pupil, he was to play the C minor (no.3) Beethoven concerto from manuscript. This was the first performance of a work which has since become a general favorite with concert pianists, though it is not so great as the E flat concerto. Ries asked his teacher to write a cadenza for the work, but Beethoven, in a particularly genial mood, told the young man he might compose one himself and insert his own cadenza. This was a high honor. Ries wrote his cadenza, but, on presenting it to Beethoven, the latter objected to one passage which was so difficult that its correct performance was doubtful, and advised the substitution of an easier passage. This Ries did until the time of the concert. When he came to the cadenza, instead of playing the easier passage he dashed into the forbidden one and completed it with great success. “Bravo,“ cried Beethoven, and the audience took up the applause. After the performance Beethoven, remembering the disobedience said to Ries, “You are always obstinate. I would never have given you another lesson had you missed one note of that passage,“ and we may well believe Beethoven would have kept his word.”
