Sometimes it's refreshing to take a step or two back and listen to some of the second-string composers of a given era. One such composer of whom I'm particularly fond is Ferdinand Ries (1784-1834) who at one time or another was Beethoven's pupil, his friend and secretary and, later on, his professional rival. When Ries received an appointment that Beethove had wanted, the friendship seems to have ended.

Ries retained the highest respect for his former teacher and Beethoven generally kept a civil tongue where Ries was concerned. His only recorded negative comment was something to the effect of "I wish he would stop trying to sound like me."

Indeed Ries does sound a lot like Beethoven, though with less gravitas. Some critics dismiss him as "Beethoven Lite." But I'll tell you something: If I could write music that approaches Beethoven's as closely as Ries's does, my period of hesitation would be measured in nanoseconds, and not many of them.

Yet it shouldn't be imagined that Ries's music is entirely derivative. To the contrary, there is a pleasant and distinct personality to be heard in the Quintet in B minor, though its musical vocabulary is definitely based on Beethoven's .

Franz Limmer (1808-1857) was of the generation of Schumann and Mendelssohn, though his music isn't quite as evolved as theirs. The very attractive Quintet in D minor might be described as a cross between Schumann and Schubert with an occasional premonition of Brahms. Like the Ries, it provides an engrossing listening experience.

Interestingly, the instrumentation of these piano quintets is not the combination of piano and string quartet that became standard with the masterpieces of Schmann and Brahms. Instead, it is comprised of violin, viola, cello, string bass and piano, like Schubert's Trout Quintet.

The Nepomuk Fortepiano Quintet is an accomplished ensemble whose use of instruments proper to the early 19th century gives the performances here an extra dimension of conviction. They play the Ries and Limmer with all the care and love that is normally lavished on a major masterwork. Definitely recommended.