Septet Op 25 be to say, for this work marks the beginning of a tradition of Klavierseptetts . That belong to her works appeared mostly under the title "Grand Septuor" in print. is formed by the septet in pure brass or brass / string section as a model in Beethoven's Septet in E flat major op.20 It (1799/1800), the Klavierseptett differs from the concert comparison of wind piano and strings on the one hand and the other, and by waiving the serenade-like tone. At the time, famous pianists of the same age with Ries Friedrich Kalkbrenner (1785-1849), the slightly older Johann Nepomuk Hummel {1778-1837}, as well as younger composers as Ignaz Moscheles (1794-1870) or the young Alexander died Fesca (1820-1849) contributed works to the genus most notable works include the age of two as the same age with Ries composers who were not piano virtuosos, from George Onslow (1784-1853; Op 79) and Louis Spohr (1784 - 1859; op 147). In the second half of the 19th Century lost Klavierseptett however attractive; Septets in the occupation combination of piano and horns mixed / strings can hardly be detected yet. Ries composed his Opus 25 in 1808 in a time of great need and frightening insecurity in Paris. The years 1802 to 1805 he had spent with Beethoven in Vienna, he was taught by Beethoven in the piano and served this as a kind of secretary of the vote and led copied his correspondence with the publishers. In the autumn of 1805 had to leave Vienna Ries, he should be drafted into military service in Napoleon's army as a citizen of the French-occupied Bonn. Although he was found unfit, but now turned the Question of the future career with great urgency. He remained some time in Bonn, probably in his parents' house, but he had to if he wanted to succeed as a pianist and composer to make a larger audience.
Ferdinand Ries (1784-1837)
tried Therefore Ries, now age of 22, in the spring of 1807 his luck in Paris. He stayed until the summer of 1808, but he could not get a foothold. The preference of the Parisian public was for the musical theater, and the gates of Paris opera houses were closed to the young, unknown composer naturally. Probably at least in the salons and to find in private music circles hearing should Ries moved primarily to the composition of duo sonatas and piano music, he wrote in the brief period of less than a half years, eight violin sonatas, two cello sonatas, five piano sonatas, continued marches, variations and fantasias for piano. At larger stations were occupied only the Piano Quartet in F minor, Op 13 and the Septet in E flat major, Op 25, the latter allegedly with the intention of his concert skills to provide at least in a chamber music work to the test. That he so an - albeit short-lived genre tradition initiated, would hardly have suspected Ries.
The Septet Op 25 was published in 1812 as "Grand Septuor" in the company of Nikolaus Simrock,
a friend of the family Ries Bonner publisher. To keep the circle of interested parties as large as possible, while Simrock published a version for piano quintet (in the cast with piano and string quartet). The work seems excited considerable attention after its publication have, more than two decades later, recalls Ries against his brother Joseph, that the Septet "in Germany in those days was played very often" (letter of 01/16/1836)
Ferdinand Ries (engraving by Charles Picart, probably for their own drawing, 1824) - Source: Beethoven-Haus Bonn, collection Wegeler, W 161 a review of the quintet version in the respected newspaper general musical from 1813 stated that the work would be "many experienced players a very advantageous practice and a truly enjoyable, lively and decent entertainment "grant;. were nevertheless" the ideas themselves are often not truly original, and many remember more detail than is really acceptable, "Overall, however, to certain models, so says the author, grant it," more pleasure and even more advantage, as many things, the more original, but clumsy, rude, illegal, and yet sophisticated, so noisy and stumbles. " Investment and expansion of the work, however, suggest that Ries followed with his septet very ambitious goals. The playing time of over a half hour and the four-movement system to refer to the symphony and classical genres of chamber music, string quartet and piano trio.
Unlike the Klavierseptett has produced the
octet
combined with piano and brass / string section does not own traditional genres. Ries was indeed the work of an octet of Prince Louis Ferdinand of Prussia
(F major, Op 12; printed 1808) preceded (Louis Ferdinand has also left a "Notturno" in Klavierseptett-cast), but later in the 19. Century there was only sporadic attempts to continue this occupation. The known octets of Schubert (D 803, 1824) and Mendelssohn (Op. 20, 1825) belonging to other species traditions: while Schubert is clearly of the Beethoven Septet, Op 20 represented the type of model assumes reasonable Mendelssohn and his influential work of his hand, the generic tradition of pure string octet.
Ferneley John E. (1782-1860): Lord Henry Bentinck's chestnut hunter 'Firebird', and 'policy', a foxhound in a loose box, 1845
Ries composed his Octet in A flat major Op 128 in the first months of 1816, in a time when he had finally found the sought recognition as a composer and pianist. After his discouraging experiences in Paris in August 1808 he went back for almost a year to Vienna, he spent another year in his native Bonn. In the second half of 1810, he embarked on an extensive concert tour of Germany, Russia and Scandinavia, and in April 1813 he had become settled in London, where he spent the next eleven years. introduced by the long time living in London, Bonn countryman Johann Peter Salomon, a teacher of his father, in London's music circles, Ries was in London a breakthrough; He came as a piano teacher in the trend-setting fashion circles in London and in 1815 had founded shortly before his arrival
Philharmonic Society. The Octet, Op 128, he composed for a concert of this society as the Leipzig publisher Carl Friedrich Peters 22 April 1816 announced by letter. "This is brand new, I wrote it for me to play it in our Philharmonic Concert on 13 May," Ries' offer to take the work in publishing, Peters has not apparently accepted, for the octet first appeared in the Leipzig publisher L831 Probst 128th as op As usual, immediately followed by a reprint in Paris. From the letter to Peters, one can conclude that Cried the work was composed with the intention of the London audience a new gem show off his virtuoso skills. In the concerts of the Philharmonic Society, it was quite common, works that would rubricated we now understand as chamber music, to present as part of a symphony concert, however, this provision requires a particularly virtuoso concert-stick character. And in fact increased, the extent of the required virtuosity from the pianist to the septet op 25 still, you could call this octet as a kind of chamber-piano concert.
Source:
Bert Hagel , in the booklet (much reduced)
TRACKLIST
Ferdinand Ries (1784-1837)
Grand Septet op. 25 33'18
for Pianoforte, Clarinet, two Horns, Violin, Cello and Bass [1] Adagio molto 10'01
[2] Trauermarsch 10'37
[3] Scherzo 5'07
[4] Rondo 7'33
Grand Otetto op. 128 22'03
for Piano, Violin, Viola, Clarinet, Horn, Bassoon, Cello el contrabas [5] Allegro 9'40
[6] Andantino 5'52
[7] Rondo. Allegretto 6'31
TT: 55'23
Linos Ensemble
Konstanze Eickhorst, piano
Winfried Rademacher, Violin - Matthias Buchholz, Mario Blaumer
Viola, Cello - Jörg Linowitzki, Double Bass
Rainer Müller-van Recum, Clarinet
Xiao Min Han, 1st Horn - Sebastian Jurkiewicz, 2nd Horn
Eberhard Marschall, Bassoon
Recording: studio of the BR, November 2002
Recording Supervisor: Jens Schünemann
Recording Engineer: Peter Urban
Cover Painting: Sarah Ferneley, Summer river landscape with
artist, Christie's London
(c) & (p) 2005, DDD
John Ferneley Jun. (1815-1862): A Lady and a gentleman setting out riding in the park of a country house, possibly Barlborough Hall, Derbyshire, visible through avenue of trees to beyond Source: Christies. John E. Ferneley (Senior) (1782-1860) was an English painter
("a celebrated sporting artist"), who is specializing in sport horses and hunting scenes. Although his stylized design of horses , he is considered one of the greatest British horse artist
("equine artists") , and as such exceeded maximum of George Stubbs . With his first wife Sarah (who died in 1836) he had six children, three of which were later also a painter: The eldest son is Ferneley John Junior (1815-1862)
. "He seems to have been taught by his father Largely who greatly influenced. Although he began working in Melton Mowbray
, "[where his parents' house was]" he is known to have been painting where in 1836, he later moved to York, where he is recorded by 1839, most probably attracted by the large number of patrons in the area. "The couple were pictured here riding on 5 June 1998 sold at Christie's in London for 19 550 pounds (32,000 euros). Another son called the father Claude Lorraine (1822-1892)
, apparently in honor of the famous landscape painter
, an admiration which he shared with the way Joseph Mallord William Turner . "He often helped out by painting in the background of his fathers pictures. He was so adept at painting copies of his father's paintings at clients' request. Claude was obviously influenced by his father's style and he is most noted for his paintings of hunters. "
Claude Lorraine Ferneley (1822-1892): Dragon and Black Prince in a Landscape 1852 Source: Encore Editions just leaves a daughter, Sarah Ferneley (1812-1903)
whose embellished "Summer river landscape painter with" the CD and available as art print or as hand-painted copy is. (From the ubiquitous Internet company, including as http://www.art-prints-on-demand.com/ , http://www.myartprints.co.uk/ or http:/ / www.kunstkopie.de/ occurs.) The painting was the cover trimmed at the edges. (original here) By Sarah, who is described in one source as "Engraver" I have found no other works. So I do not know if they had been considered black sheep of the family because they did not like horses ... More on Ferdinand Ries
The Ferdinand Ries
company publishes on its website including a detailed biography and a Works.
Bert Hagel, who wrote the booklet is the second Deputy chairman of that company; on his private page Musica Oblita "
discusses he
symphonic work of Ries , unrecognized and other masters of that time. The by Ferdinand Ries with Franz Gerhard Wegeler written book "Biographical notes of Ludwig van Beethoven"
(Coblenz, in Baedeker, 1838), is obviously completely at Google Books online to read.
About Zurich for the chamber orchestra, created the first 2nd Violin Symphony, 4th Set of Ferdinand Ries, visualized Animation ZKO roller coaster "is reported elsewhere.
Reviews I found this CD at
allmusic
in Swap a CD , and akuma . A contemporary (ie dating from the year of publication) Review also addresses the executive Linos Ensemble.
Buy CD at JPC.de CD Info & Scans (tracklist, covers, Booklet, Bonus Pictures), 34 MB
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
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