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This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

Use of Percussion in Symphonies

I asked ChatGPT4o about the use of percussion in symphonies (though I didnʼt ask about Emanuel Bach here, there is a mention of the use of timpani in "Emanuel Bachʼs Use of Percussion"). First, I asked the following question: "In Haydnʼs symphony, there is something called ʼDrum Roll.ʼ What kind of drum is being rolled?"

Haydnʼs Symphony No. 103, known as the “Drum Roll” (or “with Drum Roll”), is famous for its distinctive use of percussion. The term “Drum Roll” refers to the characteristic rhythm played by the percussion at the beginning of the first movement of this symphony.

This “Drum Roll” typically involves the use of timpani (or kettledrums). Timpani are large percussion instruments commonly used in orchestras and are a type of drum. In this section, the timpani are played with a powerful roll, and their sound becomes a part of the symphonyʼs overall theme.

Specifically, at the beginning of the first movement, the timpani are struck with a strong, rolling beat, creating a powerful rhythm reminiscent of a march, which contributes to the symphonyʼs distinctive atmosphere. This roll plays an important role as part of the theme that recurs throughout the symphony.

I then asked: "In Haydnʼs symphonies, are there any pieces where drums other than timpani are used?"

In Haydnʼs symphonies, the use of drums other than timpani is quite rare, but there are a few works where such instruments are employed. Notable examples include the following:

1. Symphony No. 100 “Military” (Hob. I/100)
• This is one of Haydnʼs “London Symphonies,” and in the middle section of the second movement, military band-style percussion is used. In this part, instruments like the triangle, cymbals, and bass drum are added, creating a unique sound reminiscent of a military march.
2. Symphony No. 26 “Lamentatione” (Hob. I/26)
• In the second movement of this symphony, in addition to timpani, a tam-tam is used. The tam-tam, commonly known as a gong, is used to create dramatic effects. In this movement, the tam-tam is effectively used to express sorrow and lamentation.

These examples show how Haydn incorporated percussion other than timpani to add new colors and dramatic elements to his symphonies.

I then asked: "I believe the tam-tam is originally a Chinese instrument, but how did it make its way to Germany?"

The tam-tam (gong) is originally an instrument from China and Southeast Asia, and it was introduced to Europe mainly as a result of East-West exchanges from the 17th to the 18th centuries. The following points can be considered regarding how this instrument was introduced to Germany and other European countries:

Trade and Exploration

1. East India Companies:
• During the 17th and 18th centuries, the Dutch and British East India Companies were actively trading with Asia. Through these trade activities, various Eastern cultures and goods were brought to Europe.
2. Explorers and Diplomats:
• European explorers, diplomats, and missionaries who visited China and Southeast Asia introduced local instruments and musical cultures to Europe.

Musical and Cultural Exchange

1. Interest in Orientalism:
• From the late 18th to the 19th century, there was a growing interest in “Orientalism” in Europe. This movement led to the incorporation of Eastern instruments and music by European musicians and composers.
2. Military Bands:
• Influenced by the Ottoman Empireʼs military bands (Mehter), Turkish-style instruments were sometimes incorporated into European military bands and orchestras. The tam-tam became part of this trend.

Spread of Instruments

1. Adoption by Orchestras:
• Composers were seeking new sounds, and exotic instruments like the tam-tam were adopted to add new colors to orchestras. This led to the tam-tam being used in European orchestras.
2. Instrument Merchants:
• Instrument merchants imported tam-tams from Asia and sold them in Europe, making the instrument widely known.

These factors combined to spread the tam-tam to Europe, including Germany, and many composers, including Haydn, began incorporating its unique sound into symphonies and other compositions.

I then asked: “Where did the East India Companies acquire the tam-tam?”

The East India Companies (particularly the Dutch East India Company and the British East India Company) engaged in extensive trade activities with Asia. As a result, various Eastern goods were brought to Europe. The tam-tam (gong) is believed to have been acquired from the following regions:

China

China is considered one of the birthplaces of the tam-tam (known as “luo” in Chinese). The East India Companies conducted significant trade activities at Chinese ports (such as Guangzhou). Since the luo was widely used as a traditional Chinese instrument, it is highly likely that it was acquired there.

Southeast Asia

The tam-tam was used not only in China but also in Southeast Asia (such as Indonesia, Thailand, and Vietnam). These regions were also important trade hubs for the East India Companies.

• Indonesia: Indonesia (particularly Java and Sumatra) was a key base for the Dutch East India Company, where Javanese gongs and other percussion instruments could be acquired.
• Thailand and Vietnam: Gongs were important instruments in these regions as well and were exported to Europe through trade.

India

In India, percussion instruments similar to gongs were used, and as part of the British East India Companyʼs trade activities, these instruments were sometimes brought to Europe.

Trade Routes and Methods

1. Direct Trade:
• The East India Companies conducted direct transactions in these regions and purchased various goods, including gongs.
2. Barter Trade:
• It was common for the East India Companies to acquire Asian goods in exchange for European items.
3. Intermediary Trade:
• They also engaged in intermediary trade between different regions within Asia. For example, gongs acquired in Indonesia might have been transported to Europe via China.

Through these trade activities, the East India Companies brought many Asian instruments, including the tam-tam, to Europe, which in turn influenced European musical culture.

I then asked: "In Southeast Asia, were tam-tams imported from China used, or were they locally made?"

The tam-tams (gongs) used in Southeast Asia were primarily locally manufactured. Considering the following points, it is clear that Southeast Asia had its own manufacturing techniques and traditions.

Manufacturing Techniques by Region

1. Indonesia
• In Indonesia, particularly on the islands of Java and Bali, gongs are used as part of the traditional music ensemble known as gamelan. These gongs are locally manufactured and have unique sounds and designs. There are different types of gongs, such as Javanese gongs and Balinese gongs, each with distinct regional characteristics.
2. Thailand
• In Thailand, gongs are used as part of the traditional ensemble known as “Khrueang Sai.” These gongs are manufactured in Thailand and are an integral part of the countryʼs musical culture.
3. Vietnam
• Vietnam also has a rich gong culture, particularly among ethnic minorities. Vietnamese gongs play an important role in traditional ceremonies and festivals.

Reasons for Local Manufacturing

• Utilization of Materials: Many Southeast Asian countries have abundant metal resources such as copper and bronze, which were used to manufacture gongs as local crafts.
• Culture and Tradition: Each region has a long history and tradition, within which unique musical cultures have developed. Along with this, local gong manufacturing techniques evolved, forming region-specific styles.

Influence from China

• Some Imports: Of course, there was cultural influence from China, and some gongs were imported from China, but Southeast Asia had established its own manufacturing techniques.
• Cultural Exchange: There has been long-standing trade and cultural exchange between Southeast Asia and China, leading to mutual influence in terms of techniques and designs.

Conclusion

In Southeast Asia, tam-tams were primarily locally manufactured. These gongs are deeply connected to the musical cultures of their respective regions and possess unique manufacturing techniques and traditions. While there were some imports from China, the gong culture in Southeast Asia was predominantly indigenous.

I then asked: "I think Chinese tam-tams and Southeast Asian gongs are quite different. Which one did Haydn use?"

There are no specific records of the type of tam-tam Haydn used, making it difficult to determine exactly which type it was. However, some assumptions can be made by considering the following points.

Differences between Chinese Tam-tams and Southeast Asian Gongs

• Chinese Tam-tams:
• Chinese tam-tams (luo) are large, disc-shaped metal instruments characterized by a flat playing surface with a concave center. They often produce a deep, resonant bass sound when struck.
• Southeast Asian Gongs:
• Southeast Asian gongs (especially Javanese and Balinese gongs) often have a protruding center and typically produce a bright, clear sound. The sound onset is also relatively quick.

Which Type Haydn Likely Used

• Recognition and Use in Europe:
• During the late 18th to early 19th century, the “gongs” or “tam-tams” recognized and used in Europe were often similar to Chinese luo. These were prized as exotic imports from the East, and their deep, resonant sound was favored for creating new effects in orchestras.
• Use in Haydnʼs Symphonies:
• The tam-tam in Haydnʼs symphonies is used to create dramatic effects. Therefore, the Chinese luo, known for its deep, resonant sound, is considered more suitable.

Conclusion

It is likely that the tam-tam Haydn used was closer to the Chinese luo. Considering the cultural background of late 18th-century Europe and the tendency to seek dramatic effects in orchestras, the deep, resonant sound of the Chinese luo would have been well-suited to Haydnʼs music.

I then asked about Mozartʼs use of percussion: "What kind of percussion did Mozart use in his symphonies?"

The use of percussion in Mozartʼs symphonies is based on the typical orchestral arrangement of his time. Below are the main percussion instruments used by Mozart in his symphonies.

Percussion Used in Mozartʼs Symphonies

1. Timpani
• The most commonly used percussion instrument in Mozartʼs symphonies is the timpani. Timpani are used alongside string and wind instruments to effectively emphasize the rhythm and dynamics of the music.
• Examples:
• Symphony No. 25 in G minor, K.183
• Symphony No. 31 in D major “Paris,” K.297
• Symphony No. 35 in D major “Haffner,” K.385
• Symphony No. 36 in C major “Linz,” K.425
• Symphony No. 38 in D major “Prague,” K.504
• Symphony No. 40 in G minor, K.550
• Symphony No. 41 in C major “Jupiter,” K.551

Examples of Other Percussion Use

• Turkish Music (Janissary) Effects:
• Mozart used instruments like the triangle, cymbals, and bass drum in works other than symphonies, such as operas, serenades, and marches.
• Examples:
• Opera “The Abduction from the Seraglio,” K.384
• Serenade No. 10 in B-flat major “Gran Partita,” K.361, includes timpani but not other percussion instruments.

In Mozartʼs symphonies, the use of percussion is mainly limited to timpani, while other percussion instruments (triangle, cymbals, bass drum, etc.) are primarily used in other genres like operas and serenades.

I then asked: “What about Beethoven?”

Beethoven used a more diverse range of percussion in his symphonies. His innovative orchestration is particularly evident in his later symphonies.

Timpani

• Main Use:
• Timpani play a crucial role in Beethovenʼs symphonies. He used them effectively to emphasize rhythm and dynamics.
• Examples:
• Symphony No. 3 in E-flat major “Eroica,” Op.55
• Symphony No. 5 in C minor, Op.67
• Symphony No. 7 in A major, Op.92

Triangle, Cymbals, Bass Drum

• Use in Specific Symphonies:
• Beethoven used these percussion instruments in specific symphonies, such as the Ninth Symphony.
• Examples:
• Symphony No. 9 in D minor “Choral,” Op.125
• In the fourth movement, the triangle, cymbals, and bass drum are used, creating a powerful effect, especially in the “Ode to Joy” section.

Glockenspiel

• Use in Specific Symphonies:
• Beethoven also used the glockenspiel.
• Examples:
• In the fourth movement of Symphony No. 9, particularly in the “Ode to Joy” section.

Influence of Military Bands

• Beethoven was influenced by Turkish music (Janissary) and military bands, incorporating percussion into specific works.
• Examples:
• “Wellingtonʼs Victory,” Op.91
• This work uses sound effects mimicking cannon fire and gunshots, in addition to timpani.

Summary

In his symphonies, Beethoven used a diverse range of percussion instruments, including:

• Timpani (in all symphonies)
• Triangle (Symphony No. 9)
• Cymbals (Symphony No. 9)
• Bass Drum (Symphony No. 9)
• Glockenspiel (Symphony No. 9)

Beethovenʼs symphonies greatly expanded the expressive power of the orchestra through their innovation and diverse use of percussion.

I then asked: "Beethoven was almost deaf when he composed the Ninth Symphony. How did he understand the effects of the triangle and glockenspiel?"

By the time Beethoven composed the Ninth Symphony, he had indeed lost most of his hearing. Despite this, he was able to understand and utilize the effects of instruments like the triangle and glockenspiel for several reasons.

1. Musical Theory and Experience

Beethoven was deeply versed in musical theory and had knowledge of the timbre and effects of various instruments. His years of compositional experience and musical training were assets he could rely on even after losing his hearing.

2. Inner Ear (Hearing Music in His Head)

Like many musicians, Beethoven had the ability to “hear” music in his head. This is the ability to imagine music internally, allowing him to understand how music would sound by looking at the score, even without hearing the actual sound. He used this ability to continue composing.

3. Assistance from Other Musicians and Assistants

Beethoven continued to compose with the help of other musicians and assistants. He would have them play his music and listen to their opinions to confirm how his ideas were realized.

4. Understanding the Physical Properties of Instruments

Beethoven understood the physical properties of instruments and how they resonated within an orchestra. For example, percussion instruments like the triangle and glockenspiel produce very clear and high sounds in specific ranges, creating distinct effects even within the entire orchestra. He understood this theoretically and reflected it in his scores.

Specific Example: Symphony No. 9

• Fourth Movement “Ode to Joy”: In this section, the triangle, cymbals, bass drum, and glockenspiel are used, and Beethoven likely had a clear mental image of the brilliant sound and rhythmic effects these instruments would bring.

For these reasons, Beethoven was able to understand and effectively utilize the effects of instruments like the triangle and glockenspiel in Symphony No. 9, even without hearing.

I then asked: "I understand that composers have the ability to ʼhearʼ music in their heads, but usually, they can hear, so they are likely reproducing sounds they have recently experienced. How was Beethoven able to do this when he had been deaf for a long time by the time he composed the Ninth Symphony?"

By the time Beethoven composed the Ninth Symphony, a considerable amount of time had passed since he had completely lost his hearing. Despite this, several factors may explain why he was able to maintain his ability to “hear” music in his head.

1. Deep Musical Training and Experience

Beethoven received thorough musical education from a young age and spent a great deal of time composing and performing. His musical memory was very strong, and he was well-acquainted with the timbre of many instruments and the effects of ensembles based on years of experience. This allowed him to accurately reproduce sounds in his head without actually hearing them.

2. Learning from Existing Works

Beethoven composed many works while he could still hear and had actually heard the sounds of various instruments. This led to a deep understanding of timbre and musical effects, which he accumulated. His existing works served as important references for later compositions and were reproduced in his inner ear.

3. Understanding Through Scores

Scores visually represent music, and Beethoven had the ability to grasp the overall picture of music just by looking at them. He could “hear” music through scores, which supported his compositional activities.

4. Sensation of Vibrations

Even after losing his hearing, Beethoven could feel the vibrations of the piano to experience music. By placing his ear on the piano or feeling the vibrations transmitted through the floor, he could confirm the rhythm and harmony of the music.

5. Collaboration with Other Musicians

Beethoven continued to compose with the cooperation of other musicians. He would have them play his music and listen to their opinions to confirm and adjust the actual sound of the music.

6. Mental Focus and Creativity

Beethovenʼs mental focus and creativity were very high, supporting his musical vision. He had the ability to deeply immerse himself in his inner world and construct music within it.

Specific Example: Symphony No. 9

• In the fourth movement of Symphony No. 9, a complex ensemble and diverse percussion are used. To accurately understand and reflect these effects in his composition, Beethoven utilized the above abilities and techniques. His extensive musical knowledge and experience, along with his deep mental focus, made the creation of this great work possible.

Beethovenʼs musical genius allowed him to overcome the significant obstacle of hearing loss and create masterpieces that have left a lasting legacy.

I then asked: "You mentioned that Beethoven continued to compose with the cooperation of other musicians. Who were these musicians?"

Beethoven was able to continue composing even after losing his hearing because he had the cooperation of other musicians and assistants. Below are some of the key musicians and assistants who collaborated with Beethoven.

Anton Schindler

• Role: Beethovenʼs secretary, biographer
• Collaboration: Schindler served as Beethovenʼs secretary, assisting with letter writing and daily support. He also engaged in discussions and exchanges of opinions about Beethovenʼs music and was involved in correcting and revising scores.

Karl Holz

• Role: Violinist, friend
• Collaboration: Holz was a close friend of Beethoven and was involved in the performance of his late string quartets. Holz exchanged opinions about Beethovenʼs music and supported the compositional process.

Ferdinand Ries

• Role: Pianist, composer, disciple
• Collaboration: Ries was a disciple of Beethoven and helped with copying scores and making corrections. He also played Beethovenʼs music and confirmed its effects.

Ignaz Moscheles

• Role: Pianist, composer
• Collaboration: Moscheles was a close friend of Beethoven and helped with proofreading and arranging his works. He particularly checked scores before they were printed.

Other Musicians

• Archduke Rudolph:
• Beethovenʼs disciple and financial supporter. Archduke Rudolph also exchanged opinions about Beethovenʼs music.
• Joseph Linke:
• A close friend of Beethoven and a cellist involved in the premiere of his string quartets. Linke also provided feedback on Beethovenʼs music.

Summary

Beethoven was able to continue composing even after losing his hearing thanks to the cooperation of these musicians and assistants. They supported Beethovenʼs music production through score creation, revision, and exchanges of opinions. The combination of Beethovenʼs genius creativity and the assistance of these collaborators resulted in the creation of his great works.

I then asked: “Did Archduke Rudolph perform or compose music?”

Yes, Archduke Rudolph of Austria (1788-1831) was known as a talented musician and a disciple of Beethoven. He was active as both a pianist and a composer, and his close relationship with Beethoven had a significant impact on his musical activities.

Archduke Rudolph as a Musician

As a Performer

• Archduke Rudolph was an excellent pianist. He received piano instruction from Beethoven and honed his skills.
• Beethoven wrote many works for him. For example, the Piano Concerto No. 5 “Emperor,” Op. 73, and the Piano Sonata No. 26 “Les Adieux,” Op. 81a, are dedicated to Archduke Rudolph.
• His piano performances were highly regarded both within and outside the court.

As a Composer

• Archduke Rudolph was also active as a composer, creating several piano pieces, chamber music, and religious music.
• His works reflect Beethovenʼs influence while possessing a unique style.

Relationship with Beethoven

• Archduke Rudolph was an important patron and friend of Beethoven. He provided financial support for Beethoven and supported his musical activities.
• Beethoven dedicated many works to Archduke Rudolph. His musical talent and support had a significant impact on Beethovenʼs creative activities.

Specific Works

• Works performed by Archduke Rudolph or composed for him by Beethoven include:
• Piano Concerto No. 5 “Emperor,” Op. 73: Dedicated to Archduke Rudolph.
• Piano Sonata No. 26 “Les Adieux,” Op. 81a: Also dedicated to Archduke Rudolph.
• Archduke Trio in B-flat major, Op. 97: A piano trio dedicated to Archduke Rudolph.

Archduke Rudolph played an important role in music history as both a performer and a composer, and his deep relationship with Beethoven had a significant impact on Beethovenʼs creations. His musical activities also greatly influenced Beethovenʼs compositions.

I then asked: “Are any of Archduke Rudolphʼs compositions still extant?”

Yes, the compositions of Archduke Rudolph are extant. His works mainly focus on piano music and religious music. Below are some of the compositions he created.

Works by Archduke Rudolph

Piano Works

1. Piano Sonatas
• Archduke Rudolph composed several piano sonatas. These works reflect the techniques and styles he learned as a disciple of Beethoven.
2. Piano Variations
• He also composed piano variations based on various themes. These works demonstrate his technical proficiency and creativity.

Chamber Music

1. Piano Trios
• Archduke Rudolph composed piano trios, and these works showcase his abilities as a pianist and his understanding of chamber music.

Religious Music

1. Masses
• Archduke Rudolph composed religious music, particularly masses. These works reflect his religious faith and musical expressiveness.

Existing Works

Some of Archduke Rudolphʼs works have survived thanks to the preservation efforts of musicians of the time and himself. While his works are occasionally performed in concerts, they are not as frequently played as Beethovenʼs works. His music is often overshadowed by Beethoven and other contemporaries, but its value should not be overlooked.

Evaluation and Influence

Archduke Rudolphʼs works clearly show Beethovenʼs influence and demonstrate the results of his musical talent and training. His works reflect the musical styles and techniques of his time, with a strong presence of his experience as a disciple of Beethoven.

If you are interested in Archduke Rudolphʼs works, you may be able to find his scores in music libraries or archives. Some of his works have also been recorded and can be listened to on certain music streaming services or CDs.

I then asked: “Who was Karl Holz?”

Karl Holz (1798-1858) was an Austrian violinist and a close friend and assistant to Beethoven. Holz was deeply involved in Beethovenʼs late creative activities and contributed to the production and premiere of his music. Below is a detailed introduction to Holzʼs character and achievements.

Character and Career

Career as a Musician

• Violinist:
• Karl Holz was known as an excellent violinist. He was a member of the Vienna Court Orchestra and was highly regarded for his technique and expressiveness.

Relationship with Beethoven

• Friend and Assistant:
• Holz became a close friend of Beethoven in his later years and spent a lot of time with him. He served as Beethovenʼs assistant, creating copies of scores and helping with score revisions.
• Holzʼs name appears in many of Beethovenʼs letters, indicating their close relationship.

Achievements and Contributions

Premiere of String Quartets

• Schuppanzigh Quartet:
• Holz was a member of the famous Vienna string quartet, the “Schuppanzigh Quartet.” This quartet was responsible for premiering many of Beethovenʼs string quartets.
• He played a crucial role in the premiere of Beethovenʼs late string quartets (Nos. 12 to 16, including the Grosse Fuge).

Support for Beethovenʼs Creativity

• Practical Support:
• Holz provided practical support for Beethovenʼs music production. He created copies and revisions of scores and helped adjust the music according to Beethovenʼs instructions.
• Even after Beethoven lost his hearing, Holz played his music and confirmed its effects.

Influence of Karl Holz

• Role in Music History:
• Karl Holz was an important figure in supporting Beethovenʼs late creative activities, and his role in music history cannot be ignored. Without his support, it is uncertain whether Beethovenʼs late works would have survived in their current form.
• Influence on Posterity:
• Thanks to Holzʼs contributions, Beethovenʼs late string quartets and other works have been preserved and recognized for their importance. His dedication to music helped preserve and pass on Beethovenʼs legacy to future generations.

Karl Holz was an important figure who supported Beethovenʼs creative activities with a deep understanding and passion for his music. His technical skills as a musician and close relationship with Beethoven greatly contributed to the completion of Beethovenʼs late works.

I then asked: “Who was Ferdinand Ries?”

Ferdinand Ries (1784-1838) was a German composer and pianist, known as a disciple of Beethoven. While influenced by Beethoven, Ries developed his own musical style and left his own achievements. Below is a detailed introduction to Riesʼs character and achievements.

Character and Career

Early Life and Musical Education

• Birth: Ferdinand Ries was born on November 28, 1784, in Bonn. His father, Franz Ries, was also a musician and a friend of Beethoven.
• Education: Ries received basic musical education from his father and moved to Vienna in 1801 to become a disciple of Beethoven.

Relationship with Beethoven

• As a Disciple: Ries was one of Beethovenʼs most talented disciples, receiving instruction in piano and composition.
• As a Secretary: Ries also worked as Beethovenʼs secretary, creating copies of scores and writing letters on his behalf.
• Friendship and Cooperation: The relationship with Beethoven was not limited to a teacher-student relationship but also involved a strong bond as close friends.

Career as a Musician

As a Pianist

• Performance Activities: Ries was an excellent pianist, performing across Europe. His performances were highly regarded, especially for his interpretation of Beethovenʼs works.
• Debut: He debuted in Vienna in 1804 and continued to tour widely.

As a Composer

• Works: Ries left many works, including symphonies, piano concertos, chamber music, and piano sonatas. His style, while influenced by Beethoven, has its own unique characteristics.
• Piano Concertos: His piano concertos are among his representative works, reflecting his technical skill and creativity.
• Chamber Music: Ries also composed many chamber music pieces, such as string quartets and piano trios, which are highly regarded.

Main Works

• Piano Concertos:
• Piano Concerto No. 3 in C minor, Op. 55
• Piano Concerto No. 5 in D major, Op. 120
• Symphonies:
• Symphony No. 1 in D major, Op. 23
• Symphony No. 2 in C minor, Op. 140
• Chamber Music:
• Piano Trio No. 1 in A minor, Op. 28
• String Quartet No. 2 in E minor, Op. 70

Later Years and Influence

• As an Educator: In his later years, Ries was active as an educator, nurturing many disciples. His teaching methods, influenced by Beethoven, produced many excellent musicians.
• Writing Activities: Ries also wrote memoirs about Beethoven, providing valuable information about Beethovenʼs character and compositional activities to future generations.

Ferdinand Ries built his own musical career by leveraging his experience as a disciple of Beethoven. His works, which blend the musical style of the early 19th century with Beethovenʼs influence, are valued for their diversity and creativity. Additionally, his influence continues to spread through his educational and writing activities.

I then asked: “Are Ferdinand Riesʼs works still performed today?”

Ferdinand Riesʼs works are still performed today. However, his works are not as frequently performed as those of Beethoven or other contemporaries. Below is an explanation of how Riesʼs works are evaluated and performed in modern times.

Modern Evaluation and Performance

Piano Concertos and Symphonies

• Piano Concertos:
• Riesʼs piano concertos are characterized by their technical challenges and beautiful melodies. These works are occasionally performed by pianists and have been recorded. Piano Concerto No. 3 in C minor, Op. 55, and Piano Concerto No. 5 in D major, Op. 120, are particularly noteworthy.
• Symphonies:
• Riesʼs symphonies are also occasionally performed. His symphonies, while influenced by Beethoven, have their own unique style. Symphony No. 1 in D major, Op. 23, and Symphony No. 2 in C minor, Op. 140, are known as his representative symphonies.

Chamber Music and Piano Works

• Chamber Music:
• Riesʼs chamber music works are sometimes performed by chamber music enthusiasts and specialized ensembles. His chamber music pieces, such as piano trios and string quartets, are valued for their beauty and technical appeal.
• Piano Works:
• Riesʼs piano sonatas and piano variations are also performed by pianists. These works combine Beethoven-like strength with Riesʼs unique delicacy.

Recordings and Publications

• Recordings:
• In recent years, recordings of Riesʼs works have increased. Many pianists and ensembles have recorded Riesʼs works, spreading their appeal. This has led to greater awareness of Riesʼs music.
• Publications:
• Riesʼs scores have also been reissued by modern publishers, making it easier for performers and music researchers to access his works.

Concert Programs

• Special Concerts:
• Riesʼs works are featured in concerts or music festivals with specific themes. For example, concerts introducing works by composers influenced by Beethoven may include performances of Riesʼs works.

Summary

Ferdinand Riesʼs works are still performed today, and their musical value is being re-evaluated. His piano concertos, symphonies, and chamber music works are particularly noteworthy, and through recordings and score publications, his music continues to spread. Riesʼs music, while influenced by his teacher Beethoven, possesses its own style and charm, and will continue to be enjoyed by many.

I then asked: "Who was Ignaz Moscheles? I believe the tam-tam is originally a Chinese instrument, but how did it make its way to Germany?"

Ignaz Moscheles (1794-1870) was a Czech-born pianist, composer, and conductor who played an important role in the early 19th-century European music scene. Moscheles was known for his exceptional piano technique and educational activities, and his works had a significant impact on the music scene of his time. Below is a detailed introduction to Moschelesʼs character and achievements.

Early Life and Education

Birth and Early Education

• Birth: Born on May 23, 1794, in Prague, Bohemia (now the Czech Republic).
• Musical Education: He showed musical talent from a young age and studied piano and composition in Prague. At the age of 11, he moved to Vienna and studied under Albrechtsberger (a friend of Mozart and Beethovenʼs teacher) and Salieri.

Career

As a Pianist

• Debut and Success: Moscheles debuted as a pianist in Vienna and gained attention for his exceptional technique and expressiveness. He performed across Europe, receiving high praise, especially in London and Paris.
• Relationship with Beethoven: Moscheles was particularly known for his interpretation of Beethovenʼs works and had a personal friendship with Beethoven. He contributed to the dissemination of Beethovenʼs works and arranged some of Beethovenʼs piano concertos.

As a Composer

• Works: Moscheles left many works, particularly known for his piano compositions. His works include piano concertos, piano sonatas, études, and chamber music. His music combines technical prowess with melodic elements.
• Representative Works:
• Piano Concerto No. 3 in G minor, Op. 58
• Piano Sonata No. 1 in F major, Op. 26
• Étude Collection “12 Grand Études,” Op. 70

As an Educator

• Leipzig Conservatory: In 1846, Moscheles became a professor at the Leipzig Conservatory (now the University of Music and Theatre Leipzig) and later served as its director. His educational activities nurtured many excellent pianists, and his educational philosophy had a significant impact on future generations.
• Educational Philosophy: His education emphasized not only technical mastery but also the understanding and enhancement of musical expression.

As a Conductor

• Conducting Activities: Moscheles was also active as a conductor, leading orchestras across Europe. His conducting activities, particularly with the Philharmonic Society in London, were highly regarded.

Later Years and Influence

• Later Years: Moscheles spent much of his time in Leipzig, continuing his educational and compositional activities. In his later years, he deepened his interactions with many musicians and maintained his influence in the music world.
• Death: He passed away on March 10, 1870, in Leipzig.

Summary

Ignaz Moscheles was an important figure in the early 19th-century European music scene, known as an exceptional pianist, a skilled composer, and a dedicated educator. His works, while technically demanding, possess musical depth, and his educational activities nurtured many excellent musicians. His friendship with Beethoven and his contributions to the dissemination of Beethovenʼs music are also among his significant achievements.

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