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October--December 2022

The Piano Quartets of Ferdinand Ries

Today, Ferdinand Ries (1784-1838) is primarily remembered as a friend and student of Beethoven, as well as his first biographer. However, during his lifetime and for much of the 19th century, Ries was known as a fine composer and virtuoso pianist. He showed musical promise from an early age, studying both violin and piano with his father, and the cello with Bernhard Romberg. In 1801, he went to Vienna to study piano and composition with Beethoven for nearly 5 years. Thereafter, Ries concertized throughout Europe before settling in London, then finally retiring in Frankfurt. He wrote a considerable amount of music, including several piano concertos and a large quantity of chamber music, which was often performed and well thought of for many years. Ries composed 3 piano quartets.

Piano Quartet No. 1 in f minor, Op. 13 was completed in 1808. It begins with an Adagio introduction in which several loud chords punctuate the proceedings. The main section, Allegro, has the aura of early Beethoven, with effective string writing, but a rather virtuosic piano part. The middle movement, Andantino, begins with a long solo in the piano, then the strings as a choir repeat the main subject�again we hear early Beethoven. The finale, Rondo, allegretto moderato, has the most compelling and memorable thematic material of the 3 movements. If someone told you that Beethoven had written this work in 1801, you would believe them.

Piano Quartet No. 2 in E flat Major, Op. 17 dates from 1809, and once again, Ries invokes the spirit of his famous teacher without actually quoting him. One might conclude that Ries was familiar with and influenced by Beethoven's Archduke Piano Trio and Triple Concerto. The Triple Concerto, composed in 1803, could have been an influence on Ries, but not the Archduke Trio, because Beethoven did not finish it until 1811. Perhaps Beethoven could have been influenced by Ries, who may well have shown him his second piano quartet. The opening movement, Allegro, begins calmly enough with a lovely lyrical theme but soon the music is ratcheted up to a bravura temperature, almost reaching that of a concerto. The piano introduces the second movement, Adagio mesto, with a Bach-like prelude, which introduces a rather sad reflective melody brought forth by the strings individually. The quartet concludes with an exuberant, lively Rondeau, allegro moderato. Here is a piano quartet which combines the styles of the late Vienna Classics with the newly emerging early Romantic. An airing in the concert hall would not be amiss, and amateurs, as long as they have a first-rate pianist, should give it a try.

Piano Quartet No. 3 in e minor, Op. 129 dates from 1820. The opening Allegro begins with a short introduction promising much, and several stormy sections follow. We find better use of the strings, and the piano, though still requiring a pianist with nimble fingers, does not require a virtuoso. The thematic material is lyrical and dramatic, but is not much further advanced than the earlier quartets. The middle movement, a stately Andante, is very fine. The part writing stands out. The third movement, Scherzo allegro vivace, dances along merrily and is only interrupted by a lovely, slow trio section. A dramatic and exciting Presto concludes the quartet. It deserves concert performance and amateurs will find it ingratiating.

You can hear substantial soundbites and order these piano quartets by clicking on the boldface links above.