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Op.48 - Sonata [No.33] for Piano and Flute in G major (London 1814) Op.49 (London: Selbstverlag 1813) - The Dream for Piano in E ♭ major (London 1813) Op.49 (Erstdruck: Clementi 1814) - Russisches Matrosenlied als Rondo mit Introduktion for Piano in A major (London 1813)
Piano Concerto No. 3 in C-sharp minor, Op. 55, by German composer Ferdinand Ries was written around 1813. It was composed in the proto- Romantic style, similar to the concertos of Johann Nepomuk Hummel, and anticipates stylistic developments of future Romantic composers.
It was here in Frankfurt, with his composition of “The Robber’s Bride”, that Ferdinand Ries first made a name for himself as an opera composer. It had its première in Frankfurt on 15th October 1828 and was then performed in numerous German cities. The intellectual climate of Frankfurt gave fresh impetus to Ries’s work.
8.572742 • Disc 5. The fourteen works for piano and orchestra of Ferdinand Ries stand alongside those of Hummel as the finest and most important of their kind from the early decades of the 19th century. Intensely lyrical and yet displaying at times a rugged Beethovenian grandeur, Ries’s eight concertos are works of impressive musical stature.
Biography - Vienna. When sixteen-year-old Ferdinand arrived on Beethoven’s doorstep in Vienna in 1801 with a letter of recommendation from his father, Beethoven was already at the peak of his fame. As he had been aided in every respect by his violin teacher Franz Anton Ries during a very difficult period of his life following the death of his ...
Teunis van der Zwart (horn), Alexander Melnikov (piano) Punto’s favoured instrument was the cor basse, and Van der Zwart adopts a wide mouthpiece to create what he describes as a more velvety sound in the low register. In the Ries, that’s echoed by... — BBC Music Magazine, April 2022, More…. Release Date: 7th Jan 2022.
Portrait of Ferdinand Hiller, composer (1811–1885). Hiller's affability was one of his strongest assets; he made innumerable friends, such as Charles-Valentin Alkan, and his very extensive correspondence with all the leading musicians in Europe, still only partly published, is an important source for the musical history of his era. Yet ...
