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里斯《降A大调第八钢琴协奏曲》Op.151 Ferdinand Ries - Piano Concerto No.8 (1826)
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https://youtu.be/w8g-mbE_VvE Piano Concerto No. 8 in A-flat major, Op. 151 "Grüss an den Rhein". Bad Godesberg, 1826 Dedication: Godefroi Weber (perhaps Gottfried Weber) I. Allegro con moto (0:00) II. Larghetto con moto (12:51) III. Rondo: Allegro molto (17:46) Christopher Hinterhuber, piano and New Zealand Symphony Orchestra conducted by Uwe Grodd By the time he left London in 1824, initially to settle in Bad Godesberg, near Bonn, Ries had composed six symphonies, reams of chamber and solo piano music, a violin concerto and six piano concertos. The last of these, premiered shortly before his departure, appeared under the title ‘Abschieds-Concert von London’ (‘Farewell Concerto to London’). Two years later Ries celebrated his return to the Rhineland with his piano concerto No 8 in A flat, Op 151, published in 1827 with the subtitle ‘Gruss an den Rhein’—‘Greeting to the Rhine’. (This should really be No 7, but the inclusion of the violin concerto as ‘No 1’ skewed the numbering system of Ries’s piano concertos.) Although Beethoven seems to have remained fond of Ries, he was once allegedly heard to mutter of his former pupil, ‘He imitates me too much’. He might have had a point with Ries’s early symphonies and concertos. There are occasional Beethovenian gestures and turns of phrase in the two concertos on this record, both late works. Yet the music rarely sounds Beethovenian. Ries’s forms, though superficially modelled on Beethoven’s (including long orchestral introductions to the first movements), are far less rigorously symphonic. Tension comes not from tonal conflict and the cumulative development of thematic cells but from flamboyantly ‘modern’ piano figuration evocative of Hummel, Field and the young Chopin. Long-range drama is replaced by a delight in momentary sensation, a relishing of dazzling keyboard fireworks for their own sake.
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