As promised, my record column on Ries symphonies and like works.
Saturday, February 13, 1999 (c)1999
Beethoven's pupil, Ries, wrote masterful symphony
From The Ottawa Citizen - FINAL EDITION
There was a generation of composers who were popular in their day, but
who have since disappeared into the shadow of Beethoven. Most of these
musicians were a bit younger than the master and some were connected to
him in one way or another.
Despite posterity's neglect, much of the music they wrote stands up
remarkably well. It may suffer in direct comparison with the greatest
works of Beethoven, but it sometimes achieves its own variety of
greatness.
Ferdinand Ries (1784-1836) was a pupil of Beethoven's. He was one of
the primary sources of biographical information about his mentor. And he
was a composer for whom the respect of his contemporaries was entirely
justified, as you will hear if you listen to CPO 999 547-2, a CD of his
third and fifth symphonies.
Your first reaction is likely to be "Beethoven Lite," though you will
hear some pre-echoes of Schumann as well. The Symphony no. 5 in D
minor, op. 112 almost sounds like Schumann attempting a pastiche of
Beethoven's Eroica and fifth symphonies.
Yet, what emerges from the mix is a fine work. If some music lovers
will not be able to avoid comparing it with the work of more famous
composers, most will hear a kind of mastery which, if not startlingly
original, remains unmistakable. Howard Griffiths and the Zurich
Chamber Orchestra make a strong case for both symphonies.
Speaking of strong cases, you should hear the Manderling Quartet play
three string quartets by Georges Onslow on CPO 999 329-2. This is Volume
2 of Onslow's complete quartets. Onslow was one of only two important
French composers of his time to be interested in "absolute" music. (The
other was Louise Farrenc, two of whose symphonies were reviewed here a
few months ago.) His oeuvre includes more than 70 string quartets and
quintets.
A comparison with Beethoven is not so striking in the case of Onslow's
Opus 4 quartet, which is more reminiscent of Haydn, but the Opus 10 will
remind listeners of Beethoven's Opus 18.
Onslow's String Quartet no. 3 in G minor, Op. 46 is a more individual
work, if scarcely without Beethoven's influence. What music was in those
days? I'm tempted to say that this quartet anticipates Brahms, but
wouldn't it be just as fair to say that Brahms, and Beethoven for that
matter, sometimes remind me of the wonderful quartets of Georges Onslow?
This quartet is unequivocally great music. One thing is for sure:
I can hardly wait for future instalments of this series. Beethoven
was once asked who was the greatest living composer (next to himself,
the questioner was careful to stipulate). After a moment's thought,
he named Luigi Cherubini. There's no doubt that Beethoven was influenced
by Cherubini, who was his senior by 10 years. His Corlian Overture
in particular is reminiscent of the older composer's style.
I've never held Cherubini's music in high esteem, and I'm sure you'd
rather believe me than Beethoven. Cherubini made his mark as a
composer of operas and, while they are occasionally revived, they
can't really hold the stage nowadays. They have little to say to
modern sensibilities.
But Cherubini also wrote some abstract music, including string
quartets. Two of them are available on CPO 999 463-2 performed by
London's Hausmusik, a period-instrument ensemble that includes the
redoubtable violinist, Monica Huggett. The quartets boast a high
level of invention and sophistication. Some listeners may find them
as or more engaging than Onslow's, and I certainly enjoy them well
enough. But somehow they don't strike me as forcefully. Still, they
have to be recommended to all lovers of string quartets.
Richard Todd
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