Ferdinand Ries - Piano Trio No. 2, Op. 28 (1810) for piano, clarinet and cello

Ferdinand Ries (28 November 1784 [baptised] – 13 January 1838) was a German composer. Ries was a friend, pupil and secretary of Ludwig van Beethoven. He composed eight symphonies, a violin concerto, eight piano concertos, three operas, and numerous other works in many genres, including 26 string quartets. In 1838 he published a collection of reminiscences of his teacher Beethoven, co-written with Franz Wegeler. The symphonies, some chamber works —most of them with piano— his violin concerto and his piano concertos have been recorded, demonstrating a style which is, unsurprising due to his connection to Beethoven, somewhere between those of the Classical and early Romantic eras. Piano Trio No. 2 in B-flat major, Op. 28 I1810) Dedicated to Mademoiselle Clairette Ludwigs 1. Allegro (0:00) 2. Scherzo. Allegro vivace (9:29) 3. Adagio (14:14) 4. Rondo. Allegro ma non troppo (17:53) Thomas Duis, piano Armin Fromm, cello Dieter Klöcker, clarinet AllMusic Review by James Manheim [-] It is to Ries’ credit that he absorbs many aspects of Beethoven’s language without sounding, in general, much like Beethoven at all. His handling of large-scale harmonic schemes that go far afield from the home key is assured and economical, and the Scherzo movement of the Clarinet Trio, Op. 28, reflects Beethoven’s gruff approach to the scherzo movement. But the presence of this movement already sets the work apart from Beethoven, whose clarinet pieces were of a less ambitious cast. The painting of warm, genial tones onto a background of varied harmonies makes one think of the clarinet chamber music of Brahms; even if the parallel breaks down when one listens more closely, this disc illuminates some of the roots of Romantic chamber music. Mushy sound from CPO is a problem here, but anyone interested in Beethoven and his world will find this disc worthwhile. From Edition Silvertrust: His Clarinet Trio appears to have been written sometime between 1805 and 1808. It is in four movements and not surprisingly shows the clear influence of Beethoven. The opening Allegro is lively and tuneful and calls to mind the style of Beethoven’s trio. The energetic second movement, Scherzo, allegro vivace, is in the transitional style of a quick minuet. A sleepy trio section provides a fine contrast. In the slow movement, Adagio, the piano is given a long solo introduction to introduce the main theme, which is then restated by the cello (our sound-bite begins here). There is much beautiful ornamentation which leads to the clarinet further elaborating the main theme. The finale, Rondo, allegro ma non troppo, has for its main theme a catchy, upbeat melody. Originally written for clarinet, cello and piano, to increase sales, Ries’ publisher insisted he provide them with a violin part in lieu of the clarinet. This he did and we offer both. Written in the style of early Beethoven, here is a welcome addition to the late-classical, early romantic era clarinet trio repertoire. Fun to play and good to listen to, we recommend it to both amateurs and professionals alike.