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