This is the last in
CPO’s series of the symphonies of Ferdinand
Ries, the other six being available
on three discs available separately
at full price. My only wish is that
I had come across this composer earlier
as I find both these symphonies examples
of the genuine article. By that I mean
strong themes, well developed, well
orchestrated and balanced across the
orchestra. This is coupled with a genuine
sense of growth and development within
the symphonic structure. Indeed if I
had heard them many years ago when I
was finding out about Beethoven, Haydn
and Mozart etc., I am not sure that
I wouldn’t have rated these works up
there with the other masters.
Ries wrote eight symphonies
in all, and based upon the evidence
of these two, the others should be well
worth hunting out. CPO’s recording is
absolutely first rate and is available
in SACD format, which can also be played
in normal stereo. It is the latter format
I listened to here, and I found that
the sound quality, always first class
with this company, had a slight additional
bloom to the sound. Whether this is
to do with the SACD mix down or just
the luck of the draw, I am not sure,
but there are no shortcomings with respect
to the sound quality whatsoever. Most
of the other CPO recordings I have heard
have been co-productions with various
radio organisations, so perhaps the
additional enhancement to the sound
may also be down to the recording engineers
operating in the church, rather than
the characteristics of the radio hall(s),
normally used by this company.
Symphony No. 7 is the
last numbered symphony written by the
composer, is in four movements, and
to an innocent ear could easily be a
long lost work by early Beethoven or
late Haydn. That Ries was influenced
by these masters is not in question,
as his symphonies sometimes shared the
podium with works by the other two.
For example during the festival at Pentecost
1825 in Aachen, Beethoven’s 9th
symphony was performed in the company
of Ries’s E Flat Symphony with its composer
as conductor. Critics responded very
positively to the new work, singling
out the orchestration as "dazzling
and highly effective". The work
was also described as "This introit
is of majestic pomp; it reveals the
whole mighty weight of the Mass and
through it deeply grips the listener
and befriends him with it. It is the
glorious rising of the daystar, of the
magnificent sun, which illuminates the
life of a heavenly bright, delightful
May day with its splendour. For truly,
the symphony shows us bright, cheery
life and activity; one finds oneself
in the midst of it all: a festival day
begins; mirth and good humour, joy and
sheer delight prevail; the young gather
together for jubilant games; full glasses
tinkle among the old; gaiety appears
everywhere and builds the throne for
love. Song and dance conclude the celebration,
and as the joy had begun, so the crowd
goes off in merry spirits."
I would rate this description
as a little over the top, but you can
see that at the time Ries was highly
acceptable to his peers.
I recommend this disc
without reservation, and look forward
to hearing the others in this superbly
played, conducted and recorded series.
John Phillips
Zurich Chamber Orchestra/Howard Griffiths. 