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Just an electronic version, but there's a chance some members of the forum may enjoy this.

https://youtu.be/_Rv8ghjSZNY

Vera Tsu 13:15 on Naxos.

I see  Luke Jones has recorded an album of solo piano works by Cipriani Potter, on the Naxos label. I expect I will be making a purchase.

Ferdinand Ries's Piano Quartet No. 2 in E-flat major, Op. 17,  is an excellent example of his chamber music, being well-crafted, melodically generous, and positioned between late Classical clarity and early Romantic expressiveness. The first movement alternates heroic grandeur, and elegant lyricism, the second is an extraordinary Bach-like prelude leading into a poignant, reflective melody, while the third movement starts off with a theme like the melody from a popular glee, before heading off into witty developments.

George Onslow's String Quintet No. 17 in B minor, Op. 40. Highly popular in the early 19th century for it's spark, vigour, and virtuosic flair, combined with technical complexity and emotional sincerity. However, it makes my list for the appeal of the melodies, which in each movement I find capture my attention and remain with me.

Anton Rubinstein's Piano Quartet in C major, Op. 66. At times I feel Rubinstein's ambition is not quite met by his talent, but in this Piano Quartet the music is more relaxed and so succeeds better. In terms of its structure it is an ambitious piece, but the music is lyric, optimistic, and accessible. It does have energy and dramatic sweep, but with great melodic charm rather than romantic angst.

Re - "The Viotti. I have the Perlman, and love it,but is it Romantic?"

In Baillot's Notice sur Viotti (1825), a biographical tribute published shortly after Viotti's death, he praises his teacher as the founder of the modern French school and highlights how Viotti introduced a more expressive, theatrical, and dramatic quality to violin concerto writing. This aligned with the era's shift toward "style dramatique", influenced by opera and emphasizing powerful contrasts, heroic elements, lyrical depth, and orchestral interplay—contrasting with earlier galant or more decorative styles.

So I'm going to say, 'yes.'

& yes, the Ries Aminor was entered for the Vienna competition - but not with his consent.

I'll give this a go, but I am aware my musical judgement rarely seems to harmonise with most members on this forum...

1. Ries Symphony No. 7 in A minor, Op. 181, for the sombre, dramatic, and serious character, and for the reach it spans from Beethoven to the early romantic symphony. Expert craftsmanship in orchestration and development, with effective use of the orchestra to create colour and tension - the finale is especially original in form and expression.

2. Giovanni Battista Viotti's Violin Concerto No. 22 in A minor, to me represents a pinnacle of the Classical violin concerto style while opening the possibilities of emerging Romanticism. I always find the pathos and melancholy that pervade the work to be moving, it is elegant yet dramatic. There is infectious virtuosity and genuine musical depth. Not entirely unsung, it influenced the French violin school (Kreutzer, Rode, Baillot), both Joachim and Brahms admired it, and Itzhak Perlman, Yehudi Menuhin, and Isaac Stern have recorded it - but my favourite version is by Lola Bobesco.

3. Hubert Parry's Symphony No. 3 in C major, "The English", the work embodies qualities I associate with the English character: sturdy, open-hearted, pastoral, and optimistic, with a blend of robust energy, lyrical warmth, and understatement. I enjoy the vigorous rhythms and singing melodies. It ought to be a concert hall favourite.

The piano sonatas, the piano concertos in Aflat and Dminor, the G minor symphony, the piano quintet in C minor - these are the best I've heard of Czerny. I agree there can be a lack of harmonic and rhythmic contrast in some of the development sections of his 'serious' works (czerning out notes), but judging by the standards of Beethoven and Schubert means nobody else gets any prizes. I guess I'm just too grave to appreciate Grande Fantasie Brilliantes!

I have just been listening to the Martin Jones recording of the sonatas, and agree sometimes Czerny is excellent. However, it is his more serious works I find emotionally and intellectually engaging, not his lighter music. There seems to be a lot of the 'Brillant'style on that Toccata Classics Cd that would not appeal to me.

A performance by Ilan Levin & The Israeli Chamber Orchestra, of Ries: Piano concerto no. 3 in C sharp minor, opus 55.

I would say, an undemonstrative performance of a dramatic concerto, but beautifully played. The forces are small, but they play well. It's good to see what's going on at the start of the development section of the first movement with the  tremolo strings, rather than trying to discern it on a recording.

https://youtu.be/Z8ZGlvNj5jk?si=dMxkGCiWpBkfxP9c

There's an interesting, if not concise, article about Lafont and Paganini on Peter-Sheppard-Skaerved's website....

https://www.peter-sheppard-skaerved.com/2010/12/charles-philippe-lafont-variations-on-la-vestale/

Perhaps the answer to the question of why we have so few recordings or performances of Lafont's music, despite the fame he enjoyed in his lifetime, is that no one is particularly interested now? Also, I read that not that much of his music was published. 

We seem to have remarkably few recordings or performances of Lafont's music compared with other violinist-composers of the era, for instance Rode or Kreutzer, does any one know why that is? There's not even much on IMSLP.

Thank you for posting. I do enjoy his piano concerto, so will look out for this.

cypressdome and Reverie

Thank you for your help. I finally figured it out. Here is the music that emerged. I have Minimalist tendencies, and these do surface in this piece, which may mean it doesn't count as 'Romantic'?

Anyway - https://youtu.be/MI1f1ku-6lk?si=4Y7CEGgHn6rrB585


Stephen

I know, I'll send you the score and mdi of the little jig I wrote as a test piece.