5. Klavierkonzert (Pastoral) Opus 120 E-Book

Ferdinand Ries

• Herausgeber: Books on Demand
• Kategorie: Lebensstil
• Sprache: Deutsch

Seitenzahl: 19

Veröffentlichungsjahr: 2022

Beschreibung

Overdue for modern reappraisal, the works of Ferdinand Ries represent a treasure trove of pieces that easily stand alongside his illustrious predecessor and former teacher, Beethoven. A serious concert work for which the faint of heart need not apply this rarely heard concerto deserves to be rediscovered for the original work it is. In this Pastoral, Ries transcends the accepted Beethoven model to create a work of enduring natural beauty and depth. --- Eine moderne Neubewertung der Werke von Ferdinand Ries ist lange überfällig, stellen sie doch eine Fundgrube von Stücken dar, die leicht neben denen seines berühmten Vorgängers und ehemaligen Lehrers Beethoven ihren Platz behaupten. Als ein ernsthaftes Konzertwerk, das nichts für schwache Nerven ist, verdient dieses selten gehörte Konzert die Chance einer Wiederentdeckung und sei es um seiner Ursprünglichkeit und Originalität willen. In dieser Pastorale übersteigt Ries das allgemein anerkannte Modell Beethovens, um eine Arbeit von dauerhafter Schönheit und Tiefe zu schaffen.

Leseprobe

Inhaltsverzeichnis

Preface

Vorwort

Instrumentation

Instrumentierung

5. Klavierkonzert

Preface

Ferdinand Ries was born into a dynastic family of musicians and rose to be its leading light. Who today remembers Johann, Anna Maria, Franz, (Pieter) Joseph, (Pieter) Hubert, Louis or Adolph? Names we remember by their association, and when Ferdinand's father Franz was employed to teach the violin to a boy named Beethoven, a position in musical history was prepared. Skipping forward a few years to the collaboration with F.G. Wegeler, Ferdinand cemented that position with one of the most important early biographies of Beethoven, the Biographische Notizen über Ludwig van Beethoven (Koblenz, 1838). This is just the oblique view of a reputation formed by association however, and in his career, Ferdinand Ries demonstrated both the influence of Beethoven and the evolution of the High Classical / early Romantic style after Beethoven. One should never read too much into descriptions of the influence of one master over another - especially during this period where pastiche and parody (if not outright plagiarism) were seen as compositional virtues to be encouraged and applauded, and vilified in turn. Ries, was a complicated man, living in a complicated time but it seems the hypocrisy of the critics can always be counted on, as a constant.

To modern ears the resemblance of this work to the Beethovian idiom is hard to shake with references to Beethoven's Symphony no.6 in the first movement and, with all the pianistic flair of the High Classical on display, this work by Ries would seem to fit right into the mould created by his predecessor. The name "Pastoral" given to the work by Ries himself is evidence of the conventions deeply embedded in its structure however, and in this respect the work is less a direct product of the influence of one man, rather an example of what we might call a kind of musical convergent evolution in action. To this, we should apply the modern Beethoven filter which presupposes that Beethoven was not the only composer writing music in Europe at this time and if, after all of this, we are still able to perceive this concerto in a complete form we may just see the work in its original light