Schuppanzigh Quartett

Die zweite Folge unserer Quartett-Einspielung mit dem Schuppanzigh-Quartett präsentiert ausgewählte Werke von Ries, die die große Bedeutung des Komponisten unterstreichen! Ries zeigt sich erneut als Meister und im Nachhinein als wegweisender Komponist, dessen Entdeckung sich lohnt. Zeit seines Lebens hat sich der Beethoven-Schüler Ries mit der Kompositionen von Streichquartetten beschäftigt, aber erst 1816 trat er mit seinem drei Werke umfassenden op. 70 erstmals an die Öffentlichkeit, wovon das hier eingespielte Quartett op. 70, 2 das am stärksten an der Tradition orientierte in klassizistisch-heiterem Tonfall ist.

Eine weitere ausgewählte Kammermusik von Ries, die dem Komponisten wieder eine neue Bewertung seitens cpo sichert! Jetzt starten wir eine Edition mit seinen Streichquartetten – eine Gattung, die im Werk von Ries eine einzigartige Stellung einnimmt. Er komponierte 26 Quartette, von denen er allerdings nur elf drucken ließ, die übrigen 15 blieben ungedruckt, wobei die beiden jetzt eingespielten Quartette zu den ungedruckten gehören. Das ältere WoO 10 entstand gegen Ende von Ries' Wiener Lehrzeit bei Beethoven, jedoch sind in der Komposition keine Einflüsse von Beethoven mehr spürbar, das zweite Quartettt WoO 37 entstand 1827, im ersten Jahr seines Frankfurter Aufenthaltes, es ist das drittletzte seiner Quartette.

Vol. 3 of our recording of the string quartets of Ferdinand Ries with the Schuppanzigh Quartet presents selected works underscoring his great importance as a composer! Once again Ries proves to be a master and in retrospect a pathbreaking composer who today is a rewarding rediscovery. Throughout his life the Beethoven pupil Ries occupied himself with the composition of string quartets and string quintets. His String Quintet No. 2 received virtually hymnic praise in the Allgemeine musikalische Zeitung in 1817: it was »in every respect one of the most outstanding works by this composer; in fact it even ranks with the most outstanding works of all that have come out in this genre for a number of years.« In this work Ries apparently hit on the blend of traditional and innovative elements corresponding to the expectations of discriminating listeners from his times.

Vol. 3 of cpo's recording of the string quartets of Ferdinand Ries with the Schuppanzigh Quartet presents selected works underscoring his great importance as a composer! His String Quintet No. 2 received virtually hymnic praise in the Allgemeine musikalische Zeitung in 1817: it was 'in every respect one of the most outstanding works by this composer; in fact it even ranks with the most outstanding works of all that have come out in this genre for a number of years'. In this work Ries apparently hit on the blend of traditional and innovative elements corresponding to the expectations of discriminating listeners from his times. In his Quartet No. 5 Ries creates the impression both of greater delight in experimentation and concision as far as the formal and motivic-thematic design of the work is concerned and proves to be a master in the field of formal experiments. The Schuppanzigh Quartet, which with the performance of interesting new discoveries has earned a reputation as one of the leading string quartets playing on original instruments, interprets these individual and suspenseful quartets, once again 'with a lot of élan and dedication.

"The fourth installment of our Ferdinand Ries Edition with the Schuppanzigh Quartet presents two selected works that underscore the composer's great importance! Throughout his life, Ries, a student of Beethoven, was preoccupied with the composition of string quartets and quintets. The C major String Quintet op. 37 was composed in 1809 and dedicated to the violinist Ignaz Schuppanzigh, who had made a name for himself in Vienna as the primarius of the "Schuppanzigh Quartet" which he had founded. In Ries's quintet, what is special and new about the opening of the movement is that the theme itself, introduced at the beginning, first leads to the home key, rather than beginning or standing stably in it. It is also striking that the opening theme is not introduced by one instrument alone.

The Schuppanzigh Quartet was a string quartet formed in Vienna in the 1790s by the violinist Ignaz Schuppanzigh. It continued, with breaks and changes of membership, for many years. Schuppanzigh was a close friend and admirer of Ludwig van Beethoven, and the quartet gave the first performances of many of Beethoven's string quartets.

Over 175 hours of music, featuring recordings by over 250 of the greatest Beethoven performers, ranging from Karl Böhm to Alfred Brendel, Claudio Arrau to the Amadeus Quartet, Wilhelm Furtwängler to Dietrich Fischer-Dieskau, Emil Gilels to John Eliot Gardiner, Wilhelm Kempff to Herbert von Karajan, Yehudi Menuhin to Anne-Sophie Mutter, and Murray Perahia to Maurizio Pollini. Includes more than two hours of newly recorded music including several world premieres with Lang Lang, Daniel Hope and Tobias Koch. Over 30 discs of alternative recordings including historic performances and period instrument recordings. Limited & Numbered Edition.

Over 175 hours of music, featuring recordings by over 250 of the greatest Beethoven performers, ranging from Karl Böhm to Alfred Brendel, Claudio Arrau to the Amadeus Quartet, Wilhelm Furtwängler to Dietrich Fischer-Dieskau, Emil Gilels to John Eliot Gardiner, Wilhelm Kempff to Herbert von Karajan, Yehudi Menuhin to Anne-Sophie Mutter, and Murray Perahia to Maurizio Pollini. Includes more than two hours of newly recorded music including several world premieres with Lang Lang, Daniel Hope and Tobias Koch. Over 30 discs of alternative recordings including historic performances and period instrument recordings. Limited & Numbered Edition.