Ries - Piano Concerto No. 8 'Gruss an den Rhein'

The Ries family and Ludwig van Beethoven's family resided in Bonn, where the elder Franz Ries gave early instruction to young Beethoven. Beethoven remained connected to the Ries family all of his life and held Franz Ries in high regard as Franz had helped Beethoven after the death of his mother.

Ferdinand Ries, son of the elder Franz, traveled to Vienna where Beethoven was living and he had with him a letter of introduction from his father. Ferdinand was already a good musician at the age of eighteen, and Beethoven took him as a piano student from 1803 to 1805.  He further saw to his education by sending him to teachers in Vienna for harmony and counterpoint. The young Ries progressed so well with his studies that Beethoven requested that he play the piano part in the premiere of his Piano Concerto No. 3 in C Minor in 1804. 

Ferdinand was not only a student but a friend to Beethoven. He became his copyist, helped in negotiations with music publishers, and was involved with the first performance of Beethoven's Symphony No. 3 in E-flat 'Eroica'. 

Ries fled Vienna in 1805 for fear of conscription in the French Army that occupied Vienna at the time. He concertized his

Ludwig van Beethoven

way around Europe for a few years and finally settled in London, England. He was associated with the great Salomon, the musician and concert promoter that brought Haydn in England a few years before, and Ries was featured in some of Salomon's concerts.  While in London, Ries remained in contact with Beethoven, negotiated terms for the publication of Beethoven's works in England and was instrumental in getting Beethoven a commission for a work for the London Philharmonic orchestra that resulted in the 9th Symphony. 

Ries was a prolific composer and wrote pieces in most of the genres of his time, among them being 7 Symphonies, 9 Piano Concertos, various chamber pieces, and much music for piano. His style can remind the listener of Beethoven, but he was not a copy-cat composer. His music is something of a bridge from Beethoven to composers such as Chopin and Schumann.

The Piano Concerto No. 8 is in three movements:

I. Allegro con spirito - Ries retired in 1824 and moved back to Germany with his English wife.  Despite his retirement, he remained active as composer, pianist and conductor. He wrote the concerto in 1826 and titled it  'Gruss an den Rhein' (Greetings From The Rhine), as a tribute to the river he grew up near. The music of the opening of the first movement has a sweep and feeling to it of the river flowing along its banks. There is a faint reminiscence of his teacher's music to it, especially in the sonata form used, but at the same time Ries speaks with his own voice.

II. Larghetto con moto - A short movement that depicts to my ear a certain melancholy, perhaps of times and people remembered from his youth in Bonn on the Rhine river.

III. - Rondo:Allegro molto - The calmness of the preceding movement is swept away by the full orchestra as it introduces the soloist in a cadenza of stunning virtuosity. After this, the rondo theme begins and the orchestra and piano engage in a rapid-fire dialog. Ries' piano writing in this movement is brilliant and demanding. The influence of Beethoven on Ries' music is somewhat less in this movement, save for the virtuoso treatment of both soloist and orchestra.  The piano glitters in the finale to the movement, and the orchestra brings the concerto to a close.

Sibelius - Symphony No. 3 In C Major

Jean Sibelius continued to write tonal music at a time in the early 20th century when many of his contemporaries were stretching the limits of tonality and music itself. Sibelius was well aware of the trends in the music of his time as he traveled extensively in Europe (and once to the United States) as concert goer, concert giver (he was an accomplished conductor) and tourist. He was called a musical conservative by some, but others looked upon him as the opposite. In truth, his music evolved from differing influences into his own unique style.

His first two symphonies were Romantic in style and showed the influence of Tchaikovsky and Bruckner. With his Third Symphony his style grew more akin to Beethoven in that his music showed an organic growth from scraps of thematic material, and was classical in musical and orchestral style. 

The Third Symphony was begun in 1904 and completed in 1907.  It was premiered in Helsinki, Finland by the Helsinki Philharmonic conducted by the composer. The symphony was met with mixed critical reviews, but Sibelius was not bothered by reviews good or bad. He once said, "Pay no attention to what critics say. No statue has ever been put up to a critic." Sibelius' thoughts on symphonic composition:

"Since Beethoven’s time all so-called symphonies, with the exception of those by Brahms, have been symphonic poems. In some cases the composers have given us a program or have at least suggested what they had in mind; in other cases it is evident that they were concerned with describing or illustrating something, be it a landscape or a series of pictures. That does not correspond to my symphonic ideal. My symphonies are music — conceived and worked out as musical expression, without any literary basis. I am not a literary musician: for me, music begins where words leave off. A symphony should be music first and last. … I am particularly pleased to see it explicitly stressed that my [symphonies] are founded on classical symphonic form, and also that wholly misleading speculations about descriptions of nature and about folklore are being gotten rid of."

I. Allegro moderato - The first movement grows out of three themes that are heard at the outset. The music flows from these short themes in Sibelius' own type of form until the brass give out the final chords. 

II. Andantino con moto, quasi allegretto -   "At a slightly quicker pace than a walk, with motion, kind of moderately fast," is roughly what the composer's Italian tempo indications mean. This is a good example of a composer trying to give direction to the performer how the music should be played, and is much an indication of mood as of velocity.  Here is where the experience of the musicians comes into play, as it is a matter of interpretation. It is trying to put a fine point on something that doesn't really exist on the printed page, but only exists in time - when the music is being played.  As ambiguous as that is, it is a vital part of interpretation. In any given performance, the interpretation of this tempo indication can 'make or break' the performance.  This is music of mystery, with the theme written in the distant key of G-sharp minor, and is interlaced with other material in a movement of quiet contrast. 

III. Moderato - Allegro ma non tanto - The final movement incorporates a scherzo and finale. Fragments of the first two movements whisk by, along with new material and the symphony relentlessly moves to the end of the symphony.  

  

Mozart - String Quartet No. 19 in C Major 'Dissonant'

Two of the greatest composers of the classical music era happened to be good friends. Although there was 24 years difference between Mozart and the older Haydn, they came to know and respect one another during the winter months that Haydn spent in Vienna. There are many anecdotes concerning the two and their genuine affection and respect for one another.  As for Mozart's thoughts on Haydn, the following is an example:

At a private party a new work of Joseph Haydn was being performed. Besides Mozart there were a number of other musicians present, among them a certain man who was never known to praise anyone but himself. He was standing next to Mozart and found fault with one thing after another. For a while Mozart listened patiently; when he could bear it no longer and the fault-finder once more conceitedly declared: "I would not have done that", Mozart retorted: "Neither would I but do you know why? Because neither of us could have thought of anything so appropriate."

Joseph Haydn 

As for Haydn's opinion of Mozart, he told Mozart's father Leopold the following:

"Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name; he has taste, and, furthermore, the most profound knowledge of composition."

It was Haydn's influence that set Mozart to writing string quartets, with an excellent set of six quartets published in 1785 and dedicated to Haydn. Quartet No. 19 in C Major was the last one in this set.

I. Adagio - Allegro - The first movement of this quartet begins with a slow introduction. It was this slow introduction with its daring (for the time at least) harmonies that led to the nickname 'dissonant'. It's been said that some music dealers returned the manuscripts to the publisher because they thought these harmonies were mistakes, and that a Hungarian nobleman got so angry over the supposed mistakes that he tore up the music. Even Haydn was initially shocked by the dissonance, but his faith in his friend didn't waver. He eventually defended his friend by saying, "Well, if Mozart wrote it, he must have meant it.”  Mozart's dissonant introduction stands in stark contrast to the music of the rest of the movement.

II. Andante cantabile - This movement is in sonatina form, which is sonata form without the development section.

III. Menuetto, Allegro - An elegant minuet in the home key of C major with a contrasting trio section in the  parallel key of C minor.

IV. Allegro molto - Written in sonata form, this music returns to the mood of the first movement.

Bortkiewicz - Piano Concerto No. 2 For Left Hand Alone

As if playing the piano with two hands isn't challenge enough, there is a sizable repertoire of music for the left hand alone. Why music for only one hand at the piano? The reasons are many. In a world where right-handed people vastly outnumber left handed people, the invention of the keyboard naturally favored the right hand. The melody is most often carried in the right hand, while the left is accompaniment.  But there is plenty of keyboard music written that demands much of both hands, hence some left hand piano music was written to help develop it enough to play the more demanding music of composers.

Paul Wittgenstein

In some cases, loss or severe injury to the right hand of some pianists have left them with only the left hand to play with. Such is the case of Paul Wittgenstein, an Austrian pianist. He served in World War One, was wounded in the right elbow and had to have his right arm amputated while he was in a Russian prisoner of war camp in Siberia. He was a classically trained pianist, and was determined to continue his pursuit of a career of a concert pianist after the war. There were some pieces for left hand alone and he transcribed other works for his own use, but the fact that Wittgenstein was the son of
a wealthy industrialist offered him the opportunity to commission works for left hand alone from some of the top composers in the first half of the 20th century. He commissioned works from Maurice Ravel, Richard Strauss, Paul Hindemith, Benjamin Britten, Sergei Bortkiewicz and others.

Wittgenstein played the premiere of the Bortkiewicz concerto in 1923 in Vienna. Wittgenstein was pleased with the work and played it many times before World War Two.  As with all of the works Wittgenstein commissioned, he held exclusive performing rights to the concerto until his death in 1961. Even after that, Wittgenstein's widow would not allow the scores to leave his library. It has been only within the past few years that some of this left-handed piano repertoire has become available.

The concerto is divided into four tempo sections, but can be thought of as being in two distinct movements in a unique form:

Allegro dramatico - The composer begins with a loud theme for orchestra, after which the solo piano enters with a dramatic melody which is taken up by the orchestra while the piano accompanies with figures that make the listener forget that there is only one hand being used.  The second theme is traded off between piano and orchestra and is of a more quiet but still restless nature.
Allegretto - The next section acts as the usual slow movement in a concerto. New themes are stated, the piano has an extended solo, and the orchestra assumes a more gentle demeanor as the piano and orchestra engage in an atmospheric dialog.
Allegro dramatico - The material from the beginning interrupts with what amounts to the recapitulation of this first movement.
Allegro vivo - The music of this second movement is in contrast to what has transpired. It is an uncomplicated but interesting dance that unwinds into a rousing finish to the concerto.

The skill and artistry in which Bortkiewicz writes for the left hand and orchestra makes this concerto one of my favorites.  A solid knowledge of piano technique and use of left-hand devices and pedalling creates an illusion so strong that if the listener didn't know better, they would think this is being played by two hands.

Schubert - Symphony No. 2 In B-flat

Franz Schubert's gifts showed themselves early, and by the time he was a teenager he was writing symphonies for full orchestra. His first symphony was written in 1813 when he was sixteen years old, and as soon as it was completed he began work on his second symphony which he began late in 1814 and finished in the spring of 1815.  During this time Schubert was a schoolmaster, having been trained to follow in his  father's profession. He soon grew tired of the monotony of teaching and quit his schoolmaster's duties in 1818 to devote himself to music.

Schubert's education included time in the Imperial and Royal Seminary in Vienna as a chorister. He also played in the school orchestra, which played music every evening. Schubert was exposed to a great deal of music during his time at the Seminary in Vienna, especially the music of Mozart, which remained a favorite of his.

The public performance of the Second Symphony wasn't given until 1877, many years after Schubert's death, but Schubert dedicated the symphony to his music master at the Seminary and the symphony could have had it's first performance by the school orchestra.

The symphony is in 4 movements:

I. Largo - Allegro vivace - Schubert begins with an introduction consisting of a robust fanfare that leads into a slow, lyrical section. This soon give way to the beginning of the first movement proper, written in sonata form. The first theme chatters away in the tonic key of B-flat which is followed by a second theme that is not in the expected dominant key of F major, but is in E-flat major.  After a working out of themes in the development, the recapitulation appears. Schubert keeps the music lyrically moving, and the movement ends in the tonic key.

II . Andante - The second movement is a set of five variations on an original theme. The orchestration is varied as well as the theme itself as Schubert makes music that is reminiscent of Mozart and Haydn.

III. Menuetto - Music in the style of Haydn's peasant-stomp minuets.

IV. - Presto - Rapid music in rondo form. Already at age seventeen, Schubert shows a remarkable deftness for harmonic surprises that go against convention, but still make musical sense.

Bortkiewicz - Piano Concerto No. 3 'Per aspera ad astra'

Sergei Bortkiewicz began his musical education in St. Petersburg, and went on to the Leipzig Conservatory to study. He made a few trips back to Russia after his studies but remained in Germany for the most part, where he taught at the conservatory and toured as a piano recitalist until the First World War.  After the war began, he was put under house arrest and was forced to return to the town of his birth, Kharkiv in the Ukraine, where he stayed on the family estate (his parents were of the Polish nobility) until the Red Army confiscated the estate after the Russian Revolution of 1917.

He escaped under great political danger by steam ship to Turkey where he landed in Constantinople in 1919.  He gave concerts, and eventually obtained a visa, went to Yugoslavia and ended up in Austria in 1922. He obtained Austrian citizenship in 1925 while he was in Vienna, and remained in that city for five years.

It was while the composer was in Vienna that he wrote his Piano Concerto No. 3 in 1926. He had been through many hardships since the First World War, and this was a time of relative calm in his life. The concerto is subtitled per aspera ad astra, which translates from Latin to mean 'from hardship to the stars', or 'through resistance to light', which takes on deep significance due to the composer's hardships.

The concerto is in five sections, which are played without a break.

I. Grave - The concerto begins with the contra-bassoon uttering a theme in its lowest register in the key of c minor. After a short dialogue with the piano, the music transforms into the first of two themes - the first of which is dramatic while the second is more lyrical. The dramatic theme reappears and leads to the next section. The structure of this section is basically an introduction and sonata form first movement. The structure is very tight and condensed, almost to the point of being terse.

II. Cadenza - The solo piano cadenza is in the tradition of the classical first - movement concerto cadenzas, but there is no recapitulation of the themes after it. Bortkiewicz leads directly to the next section.

III. Andante - This section sees the piano take on the role of 'star' with some of the themes, and also in accompanying the orchestra. Rich keyboard figures and thick chords alternate with bare octaves as Bortkiewicz's gift of melody is shown. This is the longest single section of the concerto.

IV. Lento, Maestoso, Solenne -  The richness of the music continues as the music hearkens back to some of the other themes already heard. The piano's accompanying figures ripple and glitter up and down the keyboard as the orchestra states material that grows more familiar. The piano alternates from the background to the foreground as the music grows more majestic and solemn.

V. Moderato - What at first sounds like a solemn ending to the concerto leads to the final section where the end of the struggle is starting to shine in the light of the stars. The music grows more into the key of C major as modulations grow and swell into the light of the closing theme which is richly repeated. With strings shimmering,  the rest of the orchestra is punctuated by brilliant figures on the piano until bells are added to the already glistening orchestra and soloist, and the music ends in a brightness of light.

Bortkiewicz is compared to Rachmaninoff, and there are similarities. His melodic gift was great, his workmanship likewise. He was an unabashed late Romantic  who didn't embrace 20th century music innovations.   And the more I hear his music, the better I like it. He is one of my favorite lesser-known composers.


 

Beethoven - Cello Sonata No. 3 In A Major

Beethoven followed in the footsteps of Mozart and Haydn, the two giants of late 18th century music and composed in most of the forms they used. As with many creative artists, he used forms and conventions as blueprints for his own ideas and transformed  the traditional forms of expression into something very personal. So it is that having a set of guidelines and rules doesn't stifle creativity for those who have the spark of creative genius within them, but can actually enhance their artistry.

Baron Ignaz von Gleichenstein

Beethoven was the first major composer to write sonatas for solo cello and piano,  and his 5 sonatas for cello are important additions to the literature. The third cello sonata in A major was written in 1808, a period of intense compositional activity that saw the creation of many of Beethoven's most well-known pieces such as the 5th Symphony and the Violin Concerto.  It was dedicated to Baron Ignaz von Gleichenstein, an amateur cellist, close friend of Beethoven, and one of a group of music lovers that paid Beethoven an annual fee to entice him to stay in Vienna.  Beethoven probably dedicated this sonata to him out of gratitude.

The sonata is in three movements:
I. Allegro ma non tanto - The sonata opens with the primary theme stated by the cello alone. The cello holds the final note of the theme as the piano restates it. Beethoven expands the usual number of themes heard in a movement written in sonata form by the addition of two contrasting secondary themes. In the development section, the primary theme is varied and contrasted with the other themes and the mood changes abruptly and often. The recapitulation begins with the original theme played by the cello but unlike the opening it is accompanied by the piano. There is a short coda, and the movement ends forte.

II. Scherzo : Allegro molto - This is the only scherzo found in the cello sonatas, and the theme begins on the upbeat. The syncopated theme continues throughout the scherzo, including the trio section.

Beethoven repeats the trio of this scherzo when the usual form calls for playing it only once. He did this in other scherzos of this period as well.  

III. Adagio cantabile, Allegro vivace - This sonata has no separate slow movement save for the short Adagio cantabile that opens the finale. It acts as a contrast to the previously heard nervous scherzo and the joyous final movement. It is in sonata form with a jaunty first theme and a more lyrical second theme. The development section gives the players the opportunity of lending their virtuosity to musical expression that covers the ranges of both instruments. The themes progress to the end, and after many excursions afield, the work ends solidly in A major.