This is a rather exuberant collection of cello sonatas by Ferdinand Ries (1784-1838), a student of Beethoven and, along with Beethoven, an innovator of the cello/piano sonata form. Neither Mozart nor Haydn composed cello sonatas; for their more intimate music they preferred the trio or even the string quartet where, in either case, the cello’s role always remains submerged. Ries gave the cello a greater and more melodic role (which he learned from Beethoven), and the genre is all the more enriched because of it. But you won’t hear Beethoven in any of Ries’ works. The Cello Sonata Op. 21 is a buoyant work in four movements that highlights the cello’s songlike character with the piano underscoring the piece with a pleasant counterpoint. Though the piano’s role seems right out of Mozart in this work, the interaction between the two instruments allows for harmonic passages unknown to Mozart. In fact, in Introduction and a Russian Dance for Piano Forte and Violoncello, Ries seems to outdo his teacher with the cello and piano trading off roles, with neither instrument gaining ascendancy. The Cello Sonata Op. 125 that follows also exists in a violin/piano version and has piano passages that reflect early, classical modes of performance. (Ries wrote the piece while in London in 1823 where Haydn was still the rage.) The performances by Guido Larisch on the cello and Robert Hill on piano are quite terrific here. These two men are clearly skilled at performing both late classical and early romantic music, but more than that, these two simply capture the fun in this music. Very highly recommended.
