The two minor-key sonatas of five years later come closer to the Beethovenian ideal, with their more advanced writing for both instruments and an array of agitated figures driving the drama. Eric Grossman (a student of Dorothy DeLay) and Susan Kagan play them decently enough, with only one or two minor squeaks that might have been retaken, although perhaps Kagan comes over a little reticent, draining the last ounce of character from the important lines for piano (Ries’s own instrument, on which he was something of a virtuoso).
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