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Jerry Dubins
Fanfare, May 2013

Hinterhuber runs Ries’s technical obstacle course with ease, delivering these pieces with all the dash they deserve. And Uwe Grodd prods his New Zealanders to rise above Ries’s rather pedestrian orchestral tuttis and accompaniments. Obviously, this is a must-have for completists who have collected the first four volumes in this Ries survey. It’s also recommended to those who enjoy early romantic virtuoso piano works from the period… © 2013 Fanfare Read complete review




William Dart
The New Zealand Herald, March 2013

For over a century, Ries the composer slipped into obscurity, his music dismissed by one critic as showing skilful industry rather than originality and practically forgotten. Not now, thanks to Naxos Records and Auckland conductor Uwe Grodd who, with pianist Christopher Hinterhuber and various orchestras, has recorded the composer’s complete works for piano and orchestra.

The New Zealand Symphony Orchestra takes on the fifth and final volume, coupling the first and last of the concertos with a charming Introduction et Rondeau Brillant.

…one cannot miss the composer’s bold shifts of mood and style and fondness for piquant woodwind writing. All of which are done full justice in this recording made in the Michael Fowler Centre, with producer Tim Handley at the helm.

The starkly beautiful clarinet solo that introduces the first concerto’s Larghetto is followed by the expressive keyboard rovings of the magisterial Hinterhuber…

Ries’ final concerto shows the influence of later Beethoven in the opening explosion of orchestral ideas and gestures before the virtuoso Hinterhuber makes his entrance. © 2013 The New Zealand Herald Read complete review



Steven J Haller
American Record Guide, March 2013

…the New Zealand clarinetist expresses remarkable breath control in setting forth the Larghetto, and the soloist rhapsodizes briefly on this melody—even joining with the clarinetist for a rapturous duet—before plunging directly into the infectious Rondo, which bubbles over in the manner of some Russian dance.

This is a real discovery; but then so is Ries’s entire output for piano and orchestra…

Performance and sound as before are beyond reproach…So listen to what miracles Christopher Hinterhuber has wrought, tell your friends, send this review to your local orchestra and anyone you know who can play the piano… it’s time for a grass-roots effort to reinstate Ferdinand Ries in the concert hall where he belongs. © 2013 American Record Guide Read complete review on American Record Guide




Martin Anderson
International Record Review, January 2013

With the five CDs of solo-piano music recorded by Susan Kagan and, now, this fifth CD of music for piano and orchestra , with Christopher Hinterhuber accompanied by a variety of orchestras and conductors, Naxos has shed a brilliant light on a composer who latterly was remembered only because he was a student of Beethoven than for any virtues of his own music.

…Hinterhuber delivers performances that burn with conviction; there’s no point where his concentration and onward surge flutter, where his dedication to the task in hand isn’t clear, and completely convincing. The musicians of the New Zealand Symphony Orchestra likewise rise to the occasion, audibly relishing their many moments in the limelight, with Uwe Grodd shaping and directing their efforts with a keen sense of pace and direction. © 2013 International Record Review



Infodad.com, December 2012

This fifth volume of Ries’ piano-and-orchestra compositions closes this particular Naxos sequence at the same high level it has had since it started—and will whet listeners’ appetites for future series rediscovering works by other now-neglected composers. © 2012 Infodad.com Read complete review



Brian Wilson - Download News 2012/24
MusicWeb International, December 2012

…this series has been and remains consistently recommendable and the recording sounds fine…If you haven’t been following the series you may as well start here—and you’ll probably be tempted to obtain some or all of the earlier volumes. © 2012 MusicWeb International Read complete review



Bob McQuiston
Classical Lost and Found, November 2012

Filling out the CD we get the eighth and last concerto, which commences in furrow-browed Beethoven fashion. However, colorful scoring featuring the horns in particular, a busy challenging piano part, and a couple of winsome melodies turn this into a Ries creation. An immaculate development succeeded by a thrilling recap follows. Then the movement ends with some spectacular tickling of the ivories, and an excited horn-emblazoned tutti.

Up-and-coming Austrian pianist Christopher Hinterhuber and German conductor Uwe Grodd are…featured on this release…with the New Zealand Symphony Orchestra…Hinterhuber’s playing is exceptional, and characterized by a lightness of touch and precision that turn these works into mini-masterpieces. The same can be said of the support provided by Maestro Grodd and the NZSO. © 2012 Classical Lost and Found Read complete review



David Denton
David's Review Corner, November 2012

As a favourite pupil of Beethoven his credentials were impressive, but only when Ries moved to London in 1813 did he secure his financial future. He arrived not entirely ignorant of the lack of good quality musicians in the country, and he was happy to be adopted as England’s finest pianist-composer of his time, before he retired from the London stage at the age of 40 to return to his homeland with his English wife. He had compiled a formidable catalogue of compositions that included eight piano concertos, written largely as a disciple of his mentor. Yet if you listen to the opening movement of the early E flat concerto you wonder how much Chopin knew of his music. Melodically this score could stand by the side of Mendelssohn’s concertos, the decorative writing much akin to one another. A big opening movement, not a million miles from Beethoven’s Third concerto; a short relaxation in the Larghetto and then a rustic dance for the final Rondo. His G minor concerto was his last, the work, over half an hour in length, really worth our on-going attention. The orchestral part is well scored and brings a degree of weight to the outer movements, while leaving the slow Larghetto as a limpid melody for the piano with gentle support. The Introduction and Rondeau brillant is a showpiece for piano, the sedate introduction leading to a busy Rondo that really lacks any melody you easily lock into. Christopher Hinterhuber’s playing is so wonderfully clean, you smile at the cascade of notes that emerge from nimble fingers…the New Zealand orchestra, with Uwe Grood conducting, do everything required of them. Very good sound quality with the piano well forward. © 2012 David’s Review Corner






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11:45:34 AM, 17 September 2014
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