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Scan 105
Grove's dictionary of music and musicians;, 1904
14 lines. Read by computer on 10 September 2026. Printed page 97. See the scan on archive.org.
1a great deal of pains with his pianoforte-playing, but would teach him nothing else. He, however, prevailed on Albrechtsberger to take him as a pupil in composition. The lessons cost a ducat each; Ries had in some way saved up twenty-eight ducats, and therefore had twenty-eight lessons. Beethoven also got him an appointment as pianist to Count Browne, the Russian chargé d'affaires, and at another time to Count Lichnowsky. The pay for these services was probably not over-abundant, but it kept him, and the position gave him access to the best musical society. Into Ries's relations with Beethoven we need not enter here. They are touched upon in the sketch of the great master in vol. i. of this work, and they are fully laid open in Ries's own invaluable notices. He had a great deal to bear, and considering the secrecy and imperiousness which Beethoven often threw into his intercourse with every one, there was probably much unpleasantness in the relationship. Meantime of course Ries must have become saturated with the music of his great master; a thing which could hardly tend to foster any little originality he may ever have possessed.
3As a citizen of Bonn he was amenable to the French conscription, and in 1805 was summoned to appear there in person. He left in Sept. 1805, made the journey on foot via Prague, Dresden, and Leipzig, reached Coblenz within the prescribed limit of time, and was then dismissed on account of the loss of his eye. He then went on to Paris, and existed in misery for apparently at least two years, at the end of which time he was advised to try Russia. On August 27, 1808, he was again in Vienna, and soon afterwards received from Reichardt an offer of the post of capellmeister to Jerome Bonaparte, King of Westphalia, at Cassel, which Reichardt alleged had been refused by Beethoven. Ries behaved with perfect loyalty and straightforwardness in the matter. Before replying, he endeavoured to find out from Beethoven himself the real state of the case; but Beethoven having adopted the idea that Ries was trying to get the post over his head, would not see him, and for three weeks behaved to him with an incredible degree of cruelty and insolence. When he could be made to listen to the facts he was sorry enough, but the opportunity was gone.
5The occupation of Vienna (May 12, 1809) by the French was not favourable to artistic life. Ries, however, as a French subject, was free to wander. He accordingly went to Cassel, possibly with some lingering hopes, played at Court, and remained till the end of February 1810, very much applauded and fêted, and making money—but had no offer of a post. From Cassel he went by Hamburg and Copenhagen to Stockholm, where we find him in Sept. 1810, making both money and reputation.
7He had still his eye on Russia, but between Stockholm and Petersburg the ship was taken by an English man-of-war, and all the passengers were turned out upon an island in the Baltic. In Petersburg he found Bernhard Romberg, and the two made a successful tour, embracing places as wide apart as Kiev, Reval, and Riga. The burning of Moscow (Sept. 1812) put a stop to his progress in that direction, and we next find him again at Stockholm in April 1813, en route for England. By the end of the month he was in London.
9Here he found his countryman and his father's friend, Salomon, who received him cordially and introduced him to the Philharmonic Concerts. His first appearance there was March 14, 1814, in his own PF. Sextet. His symphonies, overtures, and chamber works frequently occur in the programmes, and he himself appears from time to time as a PF. player, but rarely if ever with works of Beethoven's. Shortly after his arrival he married an English lady of great attractions, and he remained in London till 1824, one of the most conspicuous figures of the musical world. 'Mr. Ries,' says a writer in the Harmonicon of March 1824, 'is justly celebrated as one of the finest pianoforte performers of the day; his hand is powerful and his execution certain, often surprising; but his playing is most distinguished from that of all others by its romantic wildness.'
11His sojourn here was a time of herculean labour. His compositions numbered at their close nearly 180, including 6 fine symphonies; 4 overtures; 6 string quintets, and 14 do. quartets; 9 concertos for PF. and orchestra; an octet, a septet, 2 sextets, and a quintet, for various instruments; 3 PF. quartets, and 5 do. trios; 20 duets for PF. and violin; 10 sonatas for PF. solo; besides a vast number of rondos, variations, fantasias, etc., for the PF. solo and duet. Of these 38 are attributable to the time of his residence here, and they embrace 2 symphonies, 4 concertos, a sonata, and many smaller pieces. As a pianist and teacher he was very much in request. He was an active member of the Philharmonic Society. His correspondence with Beethoven during the whole period is highly creditable to him, proving his gratitude towards his master, and the energy with which he laboured to promote Beethoven's interests. That Beethoven profited so little therefrom was no fault of Ries's.
13Having accumulated a fortune adequate to the demands of a life of comfort, he gave a farewell concert in London, April 8, 1824, and removed with his wife to Godesberg, near his native town, where he had purchased a property. Though a loser by the failure of a London bank in 1825-26, he was able to live independently. About 1830 he removed to Frankfort. His residence on the Rhine brought him into close contact with the Lower Rhine
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