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| 费迪南德·里斯(Ferdinand Ries 1784-1838 ) | ||||||||||||||||||||||||
| 费迪南德·里斯 D大调第一交响曲第一乐章 | ||||||||||||||||||||||||
| Ferdinand Reis Symphony No. 1 in D Major, First Movement | ||||||||||||||||||||||||
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音乐历史上的今天
1886年9月14日德国小提琴家、作曲家休伯特·里斯（Ries，Hubert）逝世于柏林。
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| 费迪南德·里斯的儿子小提琴家、作曲家休伯特·里斯(Ries，Hubert 1802-1886) | ||||||||||||||||||||||||
| 费迪南德·里斯(Ferdinand Ries ) | ||||||||||||||||||||||||
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从1747年起，里斯这个名字就与波恩的音乐联系在了一起。这一年，费迪南德的祖父约翰·里斯(Johann Ries,
1723-1784)被任命为科隆选帝侯的宫廷号手。费迪南德的姑姑安娜•玛利亚是选举法庭上的一名歌手，他的父亲弗朗茨•安东•里斯则是著名的小提琴神童，11岁时便加入了法庭管弦乐队。 费迪南德·里斯是家族中最著名的成员，今天人们之所以记得他，很大程度上是因为他与贝多芬的亲密关系，后者曾与费迪南德的父亲一起学习音乐。里斯于1784年11月28日在波恩接受洗礼，从小就表现出音乐天赋，他跟随父亲学习小提琴和钢琴，并与伯恩哈德·隆伯格一起学习大提琴。法国大革命后的剧变影响了当时许多音乐家的事业，费迪南德也不例外。波恩的选举法庭于1794年被法国解散，结果，费迪南德未能在交响乐团得到他所承诺的职位。他十几岁的大部分时间都是在家里度过的，在他父亲的指导下度过的。他的父亲在失去了选举管弦乐队的工作后，不得不勉强维持生计。1801年，里斯在慕尼黑与彼得·冯·温特呆了几个月，靠拷贝音乐赚钱。他设法攒够了钱去了维也纳。1801年10月，他带着父亲给他以前的学生贝多芬的介绍信到达了维也纳。
在接下来的大约五年里，贝多芬给了里斯很大的帮助，他教他弹钢琴，并让他与维也纳的一些主要音乐家接触，包括上了年纪的阿尔布列奇茨伯格，后者答应教里斯的和声和作曲。在贝多芬的影响下，里斯在巴登的布朗伯爵那里获得了钢琴师的职位。1805年夏天，贝多芬的推荐再次促使里奇诺沃斯基王子在西里西亚的乡间庄园为他提供了一个类似的职位。 |
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| 年轻的费迪南德·里斯(Ferdinand Ries ） | ||||||||||||||||||||||||
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The name Ries was
connected with music in Bonn from 1747, the year Ferdinand's
grandfather, Johann Ries (1723-1784), was appointed court trumpeter to
the Elector of Cologne at Bonn. Ferdinand's aunt, Anna Maria, was a
singer at the electoral court, and his father, Franz Anton Ries, was
renowned as a child prodigy on the violin, competent enough to join the
court orchestra at the age of 11. Ferdinand Ries is the most celebrated member of the family, and is remembered today largely because of his close acquaintance with Beethoven, who had studied music with Ferdinand's father. Ries was baptised in Bonn on 28 November, 1784, and showed musical promise from an early age, studying both violin and piano with his father, and the cello with Bernhard Romberg. The upheavals following the French Revolution affected the careers of many musicians at this time and Ferdinand was no exception. The electoral court in Bonn was dissolved by the French in 1794, and as a result, Ferdinand failed to receive a position in the orchestra he had been promised. Most of his teenage years were instead spent at home under the tutelage of his father who had been forced to scratch a living after losing his job in the elector's orchestra. In 1801 Ries spent a few months in Munich with Peter von Winter, earning money by copying music. He managed to save enough to go to Vienna, and he arrived there in October 1801, armed with a letter of introduction from his father to his former student, Beethoven.
The name Ries was
connected with music in Bonn from 1747, the year Ferdinand's
grandfather, Johann Ries (1723-1784), was appointed court trumpeter to
the Elector of Cologne at Bonn. Ferdinand's aunt, Anna Maria, was a
singer at the electoral court, and his father, Franz Anton Ries, was
renowned as a child prodigy on the violin, competent enough to join the
court orchestra at the age of 11. |
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| 贝多芬对费迪南德·里斯的影响 | ||||||||||||||||||||||||
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导师与学徒
两位音乐家的初次相遇在古典音乐的史册中，路德维希·凡·贝多芬与费迪南德·里斯之间的关系堪称一部关于导师关系、影响力以及艺术发展的精彩篇章。贝多芬作为音乐创作领域的巨匠，不仅塑造了西方古典音乐的发展轨迹，还对同时代的众多艺术家，包括费迪南德·里斯，产生了深远的影响。
费迪南德·里斯出生于 1784 年，是一位德国作曲家、钢琴家和指挥家，他在 19
世纪初接受了贝多芬的指导。里斯的父亲弗朗茨·安东·里斯是一位小提琴手，也是贝多芬的朋友，这为贝多芬与这位年轻的费迪南德之间建立重要的导师与门生关系奠定了基础。 |
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| 费迪南德·里斯 单簧管奏鸣曲 单簧管三重奏 来自杜伊斯的克洛克 | ||||||||||||||||||||||||
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Beethoven’s
Influence on Ferdinand Ries The Mentor and the Protégé The Early Meeting of Two Musical Minds In the annals of classical music, the relationship between Ludwig van Beethoven and Ferdinand Ries stands as a fascinating study of mentorship, influence, and artistic evolution. Beethoven, a titan of musical composition, not only shaped the course of Western classical music but also profoundly impacted the lives and careers of his contemporaries, including Ferdinand Ries. Beethoven’s Early Impact on Ries The early influence of Beethoven on Ries was evident in their first few encounters. Ries, a talented musician in his own right, was deeply inspired by Beethoven’s revolutionary approach to composition and performance. The young Ries had the rare opportunity to observe Beethoven’s compositional process, gaining insights into the master’s techniques and musical philosophies. The Evolution of Ries’ Musical Identity Breaking Free from Beethoven’s Shadow As Ries matured as a composer and performer, his style began to evolve, moving beyond mere imitation of Beethoven. This period marked a significant shift in Ries’ musical identity, as he started to infuse his compositions with his own ideas and character. Ries’ growth as a composer can be traced through his symphonies, concertos, and chamber music. While his early works were heavily influenced by Beethoven’s structures and motifs, his later compositions showcased a more distinct voice. Ries began to experiment with form and harmony, incorporating elements from other contemporary composers and his own unique perspective. The Influence of Beethoven’s Late Style Beethoven’s late style, characterized by a more introspective and complex approach, also left a mark on Ries. During this period, Beethoven composed some of his most profound works, including the late string quartets and the “Diabelli Variations.” Ries, witnessing these developments, absorbed elements of this style, which can be seen in the increased complexity and emotional depth of his later works. Ries’ adaptation of Beethoven’s late style did not result in mere replication. Instead, he used these influences as a springboard to further develop his own musical language, blending the learned elements with his personal artistic vision. The Impact on Ries’ Career and Legacy Ries as a Carrier of Beethoven’s Torch The relationship with Beethoven had a lasting impact on Ries’ career and legacy. Ries became an important figure in the transmission of Beethoven’s works and style to the next generation of musicians. His firsthand experience with Beethoven gave him unique insights, which he shared through his performances, teaching, and writings. Ries’ efforts in promoting Beethoven’s works, including the publication of some of Beethoven’s lesser-known pieces, played a crucial role in cementing Beethoven’s legacy. His detailed accounts of Beethoven’s life and works, particularly in the “Notizen zu Beethoven” (Notes on Beethoven), are invaluable resources for understanding Beethoven’s music and persona. Ries’ Contribution to the Romantic Movement Ferdinand Ries is often considered a bridge between the Classical and Romantic eras in music. His works, while rooted in the classical tradition he learned from Beethoven, also embraced the emotional expressiveness and individualism that characterized the Romantic movement. This blending of styles is particularly evident in Ries’ piano concertos and chamber works. These compositions reflect both the structural clarity of the Classical era and the emotive, expressive qualities of Romanticism. Ries’ ability to harmonize these elements demonstrates his unique position in the musical landscape of his time. The Enduring Influence of Beethoven on Ries’ Music To this day, the influence of Beethoven on Ries’ music remains a subject of interest for musicologists and classical music enthusiasts. While Ries never achieved the same level of fame as his mentor, his works are increasingly being recognized for their innovation and emotional depth. In conclusion, the mentorship and influence of Ludwig van Beethoven played a pivotal role in shaping the musical journey of Ferdinand Ries. From a dedicated student absorbing the teachings of a master to an innovative composer in his own right, Ries’ career reflects the profound impact Beethoven had on his contemporaries. Their relationship not only highlights the importance of mentorship in the arts but also showcases the evolution of musical styles and ideas from one generation to the next. Legacy and Recognition Ries’ Role in Preserving Beethoven’s Legacy Ferdinand Ries played a crucial role in preserving and promoting Beethoven’s legacy. His detailed accounts of Beethoven’s compositions, teaching methods, and personal life have provided invaluable insights into the maestro’s world. Ries’ writings offer a unique perspective, bridging the gap between the legendary composer and the modern world. Ries’ Influence on Future Generations While Ries never achieved the same level of fame as Beethoven, his influence extended to the next generation of composers. His teaching and compositions carried the essence of Beethoven’s revolutionary ideas, blended with his own innovations, thereby influencing the Romantic movement and beyond. Recognition and Rediscovery In recent years, there has been a growing recognition of Ferdinand Ries’ contributions to classical music. Concerts featuring his works and new recordings of his compositions have brought his music back to public attention, highlighting his role in the transition from the Classical to the Romantic era. Conclusion The Enduring Bond Between Beethoven and Ries The relationship between Ludwig van Beethoven and Ferdinand Ries is a testament to the power of mentorship and artistic influence. Beethoven’s impact on Ries went beyond teaching him the craft of composition; it involved instilling a spirit of innovation and emotional expression that Ries carried forward in his own music. Ries’ Unique Place in Music History Ferdinand Ries holds a unique place in music history, standing at the crossroads of two significant musical eras. His works, infused with Beethoven’s influence and his own creative voice, represent a bridge between the classical traditions of the 18th century and the burgeoning Romanticism of the 19th century. The Ongoing Exploration of Their Musical Relationship The exploration of Beethoven’s influence on Ferdinand Ries remains an ongoing journey for musicologists and classical music enthusiasts. As more of Ries’ works are performed and recorded, the depth and nuances of this mentor-protégé relationship continue to unfold, offering fresh insights into the evolution of classical music. In summary, the artistic relationship between Ludwig van Beethoven and Ferdinand Ries exemplifies the profound impact a mentor can have on a protégé. This bond not only shaped Ries’ career but also contributed significantly to the musical world, echoing through the ages and continuing to inspire future generations of musicians and composers. |
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| 现代AI为伟大的费迪南德·里斯做画像 | ||||||||||||||||||||||||
| Modern AI creates a portrait of the great Ferdinand Ries | ||||||||||||||||||||||||
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费迪南德·里斯先生被誉为当今最好的钢琴演奏家之一，这是公正的。他的手是有力的，他的行动是肯定的，经常令人惊讶。但他的演奏最与众不同的是其浪漫的野性……他对那些进入他的风格的人产生了影响，这只能与风琴声最意想不到的组合和过渡相比。 在伦敦的这些年里，费迪南德·里斯和贝多芬的联系一直在继续，事实上，从1815年开始，费迪南德·里斯似乎代表了贝多芬的利益，与各种伦敦出版商努力出版他的作品。不久，里斯成了贝多芬许多晚期作品在伦敦出版的关键人物。此外，费迪南德·里斯为了贝多芬的利益所做的努力导致了各种各样的委托，以贝多芬的方式进行，包括1822年来自爱乐协会的一个交响乐团。两年后，合唱交响曲的乐谱被送到了协会。贝多芬在1825年7月写的一封信中承认了里斯在这些事情中所扮演的角色:“由于我的朋友里斯不在伦敦，我自己也不寄任何东西到那里，因为信件和安排占据了我太多的时间。” 1824年，费迪南德·里斯决定退休，离开伦敦回到他的家乡莱茵兰，过一种更安静的生活。他在戈德斯伯格——波恩以南几英里的一个村庄——住了将近三年。之后，他决定搬到法兰克福，在那里，他作为作曲家和指挥家参与了莱茵河下游的几个音乐节。1834年，他被任命为亚琛市管弦乐团和Singakademie乐团的负责人。费迪南德·里斯于1838年1月13日去世，享年53岁。 |
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| 晚年的费迪南德·里斯先生 | ||||||||||||||||||||||||
| Mr. Ferdinand Riss in his later years | ||||||||||||||||||||||||
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Kaikhosru Mr Ries
is justly celebrated as one of the finest piano-performers of the
present day. His hand is powerful, and his action is certain, often
surprising. But his playing is most distinguished from that of all
others by its romantic wildness.... He produces an effect upon those who
enter his style, which can only be compared to that arising from the
most unexpected combinations and transitions of the Aeolian harp. Ries's contact with Beethoven continued during these London years, and indeed from about 1815, Ries appears to have represented Beethoven's interests with the various London publishers striving to publish his works. In time Ries became a key figure in the London publication of many of Beethoven's late compositions. Moreover, Ries's efforts on Beethoven's behalf resulted in various commissions going Beethoven's way, including one in 1822 from the Philharmonic Society for a symphony. Two years later the score of the Choral Symphony was delivered to the Society. In a letter written in July 1825 Beethoven himself acknowledged the role Ries had played in these matters: "Since my friend Ries is no longer in London, I don't send anything there myself, as the correspondence and arrangements take up too much of my time." In 1824 Ries decided to retire, and left London to return to a quieter existence in his native Rhineland, living for almost three years in Godesberg, a village a few miles south of Bonn. He then decided to move to Frankfurt am Main where he became involved with several of the Lower Rhine Music Festivals as composer and conductor. In 1834 he was appointed head of the city orchestra and Singakademie in Aachen. Ries died at the age of 53 on 13 January, 1838. |
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| 德国对里斯的成就十分重视，建立了费迪南德·里斯研究学会 | ||||||||||||||||||||||||
| Germany highly values Riss's achievements and has established the Ferdinand Riss Research Society. | ||||||||||||||||||||||||
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Today in the
history of music On September 14, 1886, German violinist and composer Hubert Ries passed away in Berlin. Hubert Ries (1802-1886) was the youngest son of Ferdinand Ries (1784-1838). He was the music director of Bonn and performed with Beethoven's orchestra. Hubert's old age was better known for his father Ferdinand Ries, who was a pianist and composer and had studied with Beethoven in Vienna. After learning the violin from his father, Hubert continued to study the violin with Ludwig Spohr and took composition courses from the renowned teacher Moritz Hauptmann. He spent most of his time in Berlin, where he enjoyed a career as a concert master of various orchestras and then served as the conductor in Berlin. He also served as the leader of one of Berlin's leading string quartets for many years. He was also a famous teacher and his teaching works are still in use. Ferdinand Ries (1784-1838) was a German composer, violinist and pianist. Ferdinand Ries was a friend, student and secretary of Ludwig van Beethoven. He composed 8 symphonies, 1 violin concerto, 8 piano concertos, 3 operas and many other works, including 26 string quartets. In 1838, he published a memoir collection about his teacher Beethoven, which was co-authored by him and Franz Wegler. His violin concerto and piano concerto were recorded, and some of his chamber music works - most of which were completed with the piano - due to his connection with Beethoven, the style of these works lies between the classical and early romantic styles. Today's video: 1. Ferdinand Reis' Symphony No. 1 in D Major, First Movement; 2. Hubert Reis' Violin Piece "Infinite Motion". |
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| 休伯特·里斯(Ries，Hubert）关于小提琴的教学著作 | ||||||||||||||||||||||||
| Hubert Ries's teaching works on the violin | ||||||||||||||||||||||||
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| 费迪南德·里斯的七重奏和八重奏 | ||||||||||||||||||||||||
| Ferdinand Reis' septets and octets | ||||||||||||||||||||||||
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| 里斯 无穷动 小提琴曲Ries_Perpetual Motion | ||||||||||||||||||||||||
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曲目：Perpetual Motion，无穷动 作者：Ferdinand Ries，德国作曲家，贝多芬的朋友、学生和秘书。 演奏信息： Elizabeth Pitcairn, violin Artie Kane, piano Whidbey Island Center for the Arts Amadeus Concert. 虽然帕格尼尼的无穷动流传更广，可是这首也不错哦。演奏者也很棒。 |
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