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David W. Moore
American Record Guide, January 2020

Martin Rummel is a well-known cellist whose recordings are welcome. His colleagues are just as polished, and a good thing, too, since Ries gives more work to the piano than to the cello. Eric Lamb gives our ears a relief from both… © 2020 American Record Guide Read complete review on American Record Guide

Raymond Tuttle
Fanfare, January 2020

…Rummel and Stroissnig get the job done and do it well, although I like the personalities and the timbres revealed in the different period instrument recordings. If you liked your first bite of this apple, there is no reason not to go back for a second one… © 2020 Fanfare Read complete review

Terry Robbins
The WholeNote, December 2019

Ries left a sizeable œuvre of over 200 compositions on his death in 1838, few of which are remembered. Included here are: the Cello Sonata in C Minor WoO2 from 1799, one of the earliest of its genre and written when Ries was only 15; the Trois Aires Russes Variés Op.72 from 1812; the Introduction and a Russian Dance Op.113 No.1 and the Cello Sonata in F Major Op.34, both from 1823. Eric Lamb is the flutist in the 1815 Trio for Flute, Cello and Piano in E-flat Major Op.63. © 2019 The WholeNote

Records International, September 2019

The 1799 sonata in C minor is among the first of its genre, the 15-year-old Ries already showing remarkable talent in its Sturm und Drang moods. The trio was admired in its day for its ingenuity of modulations and fashionable London society lapped up the exotic themes of the shorter two works. © 2019 Records International

David Denton
David's Review Corner, August 2019

The second release in the complete works for cello from the German-born Ferdinand Ries, the favourite piano pupil and long-standing friend of Beethoven.

As a composer he was prolific, with almost two hundred published works, and a hundred discovered after his death, yet it was only on his move to London, at the age of twenty-nine, that he found an adoring public for his concerts and a ready market for his compositions. His music for cello and piano was limited, and this release will probably be the penultimate one, and much of that was written while still young and before his arrival in England. The earliest—the unpublished sonata in C minor—completed when he was fifteen, was an extended score in three movements. Throughout it has charming melodic invention that reminds one of Mozart, the part given to the piano more important than the decorative cello, reflecting that the composer as a pianist, the rondo-style finale a particular joy. Next in order of composition (1812) came the Three Russian Airs with Variations for cello or violin and piano, pleasing for occasional listening, a comment I would append to the other Russian inspired work, and equally to the Trio where I listen in anticipation for anything memorable from the flute. Finally the Cello Sonata in F major dating from 1823 and originally for horn and piano, but with the option of a cello. In three short movements, it gives a well balanced participation to the cello, and at times sounding quite dramatic. In sum I found the disc much less interesting than the first volume (8.573726), though I would again compliment the Austrian pianist, Stefan Stroissnig, for his clarity when faced with an over-abundance of notes, with Martin Rummel the elegant cellist. Pleasing sound quality. © 2019 David’s Review Corner

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