RIES JOURNAL

Neu erschienen: RIES JOURNAL Doppelnummer 05/2018

Ries Journal 5-2018

This issue is dedicated to the memory of Prof. Dr. Bodo of Dewitz, our Vice Chairman, who died on 17 November last year at the age of just 67. He was one of the first and most committed supporters of our society. His expertise as a historian, author and editor will be painfully missed.

In the fifth number of the RIES JOURNAL you are presented with the life and work of Franz Joseph Ries (1792 – 1861), Ferdinand Ries‘s third brother, a passionate maker of pianofortes.

The US-based German musicologist Sabine K. Klaus has kindly permitted us to publish here, for the first time in German, her article on Joseph Franz Ries which had previously been printed in 2003 in the Early Keyboard Journal, no. 21. Her study depicts the difficult life of a pianoforte manufacturer in mid-19th century Vienna when there was much demand of pianos, but equally large competition amongst piano manufacturers.

Viennese music historian Rita Steblin has found numerous hitherto unknown biographical details on Joseph Franz Ries in the local archives complementing the portrait drawn by Sabine K. Klaus. As Rita Steblin‘s text is written in easily comprehensible English and all available documents are given in the German original, the editors have followed her suggestion and go without a German translation, as the current issue is already rather voluminous through the publication of the two texts.

Ferdinand Ries‘s music is met in recent times with growing interest also by the younger generation of musicologists both from Germany and abroad. Klaus Wolfgang Niemöller gives a cumulative review of three interesting Master and Bachelor theses of the past two years.

 

In the fifth number of the RIES JOURNAL you are presented with the life and work of Joseph Franz Ries (1792 – 1861), Ferdinand Ries’s third brother, a passionate maker of pianofortes.

The US-based German musicologist Sabine K. Klaus has kindly permitted us to publish here, for the first time in German, her article on Joseph Franz Ries which had previously been printed in 2003 in the Early Keyboard Journal, no. 21. Her study depicts the diffi-cult life of a pianoforte manufacturer in mid-19th century Vienna when there was much demand of pianos, but equally large competition amongst piano manufacturers.

Viennese music historian Rita Steblin has found numerous hitherto unknown biographical details on Joseph Franz Ries in the local archives complementing the portrait drawn by Sabine K. Klaus. As Rita Steblin’s text is written in easily comprehensible English and all available documents are given in the German original, the editors have followed her suggestion and go without a German translation, as the current issue is already rather voluminous through the publication of the two texts.

Ferdinand Ries’s music is met in recent times with growing interest also by the younger genera-tion of musicologists both from Germany and abroad. Klaus Wolfgang Niemöller gives a cumulative review of three interesting Master and Bachelor theses of the past two years.

 

Bisher erschienen:

RIES JOURNAL Doppelnummer 04/2016

Ries Journal Ausgabe 04/2016

In the volume at hand, Swedish pianist and music historian Anders Gabriel Sundström examines the extensive concert tour undertaken by Ferdinand Ries which, between 1811 and 1813, took him to Northern Germany, Denmark, Sweden, Finland and Russia.

When Ries left Bonn at the end of 1810, he had already built a reputation as a virtuoso pianist and talented young composer during his extended periods of residence in Vienna and Paris. During the tour, which lasted two and a half years and covered almost 8000 km, he matured into an independent and innovative composer.

Until now little was known about this trip other than what we can learn from the small number of surviving letters written by Ries during this time. As he habitually noted date and location in his manuscripts, we are able to reconstruct his itinerary and to capture the wealth of works created during this time. Despite the at times risky events and exhausting travel conditions, the numerous encounters and experiences in strange places must have inspired him to such a degree that he created new works in every city he performed in. Early key works stem from this time such as, for example, his Concerto for Two Horns and Orchestra WoO 19, written in Kassel, as well as his charming Piano Concerto No.3 op. 55 and the „Swedish National Airs“, which secured his election to the Royal Swedish Academy of Music. With these works he established his own style of writing which set him apart from his teacher Beethoven and also from other composers of his generation.

The author has accessed hitherto unknown Swedish and Finnish sources and, above all, used the numerous reports from the Allgemeine Musikalische Zeitung, which paints a lively picture of the development of Ries’ career and the environment in which his music was received in Europe between the years of 1811 and 1813.

As the original text by Anders Gabriel Sundström was written in English and the music of Ferdinand Ries is increasingly getting recognized and admired by an international audience, the board, with this magazine, has taken the decision to publish the RIES JOURNAL for the first time in a bilingual edition (German/English).

 

Bisher erschienen:

RIES JOURNAL Doppelnummer 03/2014

Ries Journal 2015

Das Thema der 3. Ausgabe des RIES JOURNALS ist ein Dokument der musikalischen Rezeptionsgeschichte, das, obwohl für alle sichtbar, bislang noch nicht zum Gegenstand der musikhistorischen Forschung geworden ist. Es handelt sich um das „Musik-Relief“ am Sockel des 1878 enthüllten Denkmals für den  preußischen König Friedrich Wilhelm III. auf dem Heumarkt in Köln. Auf diesem sind sieben Musiker und Komponisten dargestellt, die seinerzeit als die maßgebenden Persönlichkeiten für die Musikentwicklung in Preußen und den seit 1815 zu Preußen gehörenden Rheinlanden erachtet wurden. Es zeigt, versammelt um die zentrale Figur Ludwig van Beethovens, die Musiker Carl Maria von Weber, Felix Mendelssohn-Bartholdy, Giacomo Meyerbeer, Bernhard Klein, Carl Friedrich Zelter und Ferdinand Ries.

Barbara Mülhens-Molderings untersucht anhand der bisher kaum gewürdigten plastischen und grafischen Entwürfe die Entstehungsgeschichte des Bildprogramms des Musik-Reliefs und dessen künstlerische Realisierung durch die Berliner Bildhauer Hermann Schievelbein und Alexander Calandrelli. Klaus W. Niemöller stellt die Geschichte des Musik-Reliefs in einen kulturhistorischen Zusammenhang mit den musikalischen Aktivitäten, Vereinigungen und Institutionen der Bürgergesellschaft Kölns. Zugleich geht er der Frage nach, in welchem Verhältnis die dargestellten Musiker und Komponisten zu Preußen und den Rheinlanden standen und was sie zur Aufnahme in das rheinisch-preußische Pantheon der Musik 1878 prädestinierte.

 

RIES JOURNAL Doppelnummer 02/2012

>> PDF-Edition (German) 02-2012

Ries Journal 02-2012

Die 2. Ausgabe des RIES JOURNALS enthält eine umfangreiche quellengeschichtliche Studie von Klaus W. Niemöller zu den Niederrheinischen Musikfesten. Ferdinand Ries bestimmte eine ganze Phase dieser über das Rheinland hinaus wichtigen Großveranstaltungen. Es waren nicht weniger als acht Musikfeste, auf denen er zwischen 1825 und 1837 nicht nur als Festdirigent, sondern auch als Komponist auftrat. Des Weiteren stellt der Autor die rheinische Altertumssammlerin und engagierte Musikfreundin Sibylle Mertens-Schaafhausen vor, zu der Ries in freundschaftlicher Verbindung stand und die eine führende Rolle bei der musikalischen Vorbereitung der Bonner Teilnehmer an den Niederrheinischen Musikfesten in Aachen, Düsseldorf und Köln spielte.
Des Weiteren enthält das Heft einen Beitrag von Axel Beer, in dem der Inhalt von 27 bisher unpublizierten Briefen von Ferdinand Ries an das Bureau de Musique von Ambrosius Kühnel und C. F. Peters in Leipzig in Form eines Überblicks vorgestellt wird.

 

RIES JOURNAL Doppelnummer 01/2011

>> PDF-Edition (German) 01-2011

Ries Journal 01-2011

Gleich in der ersten Nummer können wir mit einer kleinen Sensation aufwarten: Barbara Mülhens-Molderings – die Vorsitzende der Ferdinand Ries Gesellschaft – hat das Original einer bisher nur in Auszügen bekannten, seit dem Zweiten Weltkrieg als verschollen geltenden Briefs von Ries ausfindig gemacht.
Dieser Brief ist von besonderem Wert, weil er eine autobiographische Skizze und ein Werkverzeichnis enthält. Er wird hier nun erstmals vollständig als Faksimile und in Übertragung veröffentlicht.

Einzelpreis: 4,50 € -, Doppelnummer 6,-- €
ISSN: 2193-4428
Zu bestellen bei:
Ferdinand Ries Gesellschaft e.V. Bonn
Weberstr. 61
53113 Bonn
info@ferdinand-ries.de

oder bei C.A. Hainholz, riesjournal@hainholz.de

 
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Lorenz Janscha, Johann Ziegler: Ansicht des Theaters und Redoutensaales zu Godesberg, kolorierter Kupferstich 1729, markiert: Ferdinand Ries Geburtshaus
Ferdinand Ries around 1820, Oil/Lwd., Beethoven-House Bonn
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