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