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David W Moore
American Record Guide, November 2018

Martin Rummel is one of our most imaginative cellists. Stroissnig is also a fine player who joins Rummel in these three lively and lovely works dating from 1808 to 1821.

I find Ries’s sonatas highly listenable… These are well-polished performances. © 2018 American Record Guide Read complete review on American Record Guide

Max Burgdörfer
MusicWeb International, October 2018

The combination of Stroissnig’s fresh and sometimes cheeky rendering on the one side, and Rummel’s modest yet exquisite mastering of the cello on the other, results in a very good recording. This CD comes with notes in English and German, which, despite being very short, give some valuable background information on the compositions and Ries, as well as on the performers. © 2018 MusicWeb International Read complete review

David Denton
David's Review Corner, June 2018

Ferdinand Ries had been a favourite pupil of Beethoven, but it was only when he moved to London in 1813 that he secured a financial future as a pianist-composer. At the time he was ignorant of the dearth of good musicians born in England, and was delighted to find an adoring public for his concerts, and having married an English wife, he amassed a fortune by the age of 40. It enabled him to retire from the concert platform and he returned to his German homeland. By then he had compiled a formidable catalogue of compositions in almost every genre, including a series of scores for cello and piano, his three sonatas forming this first release in a new series. Ries’s connection with Beethoven here goes even further, the first two works dedicated to the distinguished cellist, Bernhard Romberg, who had Beethoven as his piano partner. They date from 1808, Ries then twenty-four at the time, was showing a composer possessed of a ready supply of memorable melodic invention, who, like Beethoven, tended to give the piano the major voice in the duo. There is also ample pungency in the music, while the finale to opus 20 is a bubbling Polonaise requiring a very dexterous pianist, a requirement that carries over to the opening Allegro of the following opus 21. The two central movements—an Andantino and Menuetto—have considerable charm, while the opening of opus 125, which dates from 15 years later, has a sombre Grave before the ending moves into happier climes with an instantly memorable melody, a pleasing slow movement preceding a vivacious Rondo. Playing an abundance of notes in all the three works, the Austrian pianist, Stefan Stroissnig, is outstanding, with the cellist, Martin Rummel, spinning an elegant sound around the keyboard in a wealth of decoration. Very good and well balanced sound. Strongly recommended. © 2018 David’s Review Corner

Records International, June 2018

Op. 20 and 21 (1808) were dedicated to cellist Bernhard Romberg, who performed regularly with Beethoven. Ries exploits Romberg’s extraordinary sound quality in the lower register of the cello in music that resonates with references to colleagues such as Haydn and Hummel. Ries’ third and last cello sonata dates from 1823 and has stylistic similarities (and a reference) to Beethoven. Martin Rummel (cello), Stefan Stroissnig (piano). © 2018 Records International

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