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里斯《g小调第九钢琴协奏曲》Op.177 Ferdinand Ries - Piano Concerto No.9 (1833)
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https://youtu.be/yMnGrDMymiw 1. Allegro 2. Larghetto con moto 3. Rondo. Allegro. Christopher Hinterhuber, piano and New Zealand Symphony Orchestra conducted by Uwe Grodd Details by Richard Wigmore By the time he composed the piano concerto No 9 in G minor, Op 177, around 1832–33 (the exact date is unkown), Ries and his wife had moved from Bad Godesberg to Frankfurt am Main. By then his star as a virtuoso performer had faded, though he conducted his own and other composers’ works at the Lower Rhine Music Festivals, and still occasionally played in public. To judge by the technical challenges of this, his last concerto, Ries had lost none of his former dexterity. Musically, too, the concerto, scored for the same forces (without oboes) as the A flat concerto, is no less inventive than its predecessor. The first movement, darker in mood and colouring than its predecessor, initially seems to be in B flat, with a four-note ‘tapping’ figure on pizzicato strings that sounds like a homage to Beethoven’s violin concerto. Woodwind then gently establish the ‘proper’ key of G minor with the plaintive main theme. A second theme, proposed by the strings and repeated evocatively on the horns, turns out to be a variant of the first. Many of the ploys used effectively in the A flat concerto recur here, including the dramatic entry of the soloist (at the apex of an orchestral crescendo), and the introduction of a new, romantically lyrical theme in the development. The powerful modulating sequences that follow this theme suggest the ‘romantic wildness’ noted in the Harmonicon’s review of Ries’s playing.
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