The Music Of Max Reger (1873-1916) on CD
Dave Lampson
Following to my offer to provide a Reger discography I received so many
requests, I decided to put a little research into it and do it right.
I assume that if there is that much interest, then I might as well post
it to the group as a whole. So, here's it is.
The Music Of Max Reger (1873-1916) on CD
"Glibness, meaningless action, is something I detest;
architectural beauty, melodic and imitative magic are
absolutely indispensable."
Reger at the time of the publication of his Op. 1, 1890
"In my opinion, Reger thoroughly deserves our attention, and
should be performed a great deal. First of all because he wrote
so much, and secondly, because he is already dead and we still
don't have a clear opinion about him (I consider him to be a
genius)."
Schoenberg letter to Zemlinsky, 1922
"There is a need for a new composition technique, and Max Reger,
Gustav Mahler and myself all played a role in this development.
But this did not put an end to such destructive tendencies as
mere sequencing of half-sequences. And sad to say, many of
today's composers are writing works that just become longer
and more detailed as the result of numerous unchanging repeats
of the same few phrases, rather than linking ideas with
development variations and thus showing consequences derived
from the basic idea. Only thus can music remain within the
limitations of human thought and the logical demands the human
mind makes."
Schoenberg "Criteria for Evaluating Music", 1946
Piano & Chamber -
Reger's music for chamber ensembles or solo keyboard epitomize his creative
output. He did not turn to symphonic forms until later in life, and even
then he continued to create keyboard and chamber music masterpieces. Though
the symphonic works have much to offer, it is the more intimate forms that
are the most representative of his genius. For the chamber music lover I
would recommend the piano trios and strings quartets as the place to start.
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REGER 14 Variations & Fugue on a Theme by Bach Op. 81 DDD
HAYDN, F.J. Sonata #46 Hob XVI:50
Piano SERKIN, Rudolf
CBS Masterworks MK39562 50:30
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REGER 14 Variations & Fugue on a Theme by Bach Op. 81 ADD
23 Variations & Fugue on a Theme by Telemann Op. 134
Piano LEVINE, David
Koch Schwann Musica Mundi CD310008H1 1:05:55
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Serkin's playing is, as usual, outstanding, and the coupling with the Haydn
sonata demonstrates the influence of older forms on Reger's contrapuntal
developments. Reger's fugal treatments are unique, however, and these pieces
showcase Reger's genius for the form. The CBS release was recently deleted
from the catalog, but is available in cutout bins.
Levine does an outstanding job with the Bach variations and includes the
Telemann variations. Reger's approach to polyphony does indeed owe a great
deal to these two masters, and these pieces reflect this. The technical
demands in all of Reger's piano music is extreme, so perhaps this is why they
haven't been taken up by pianists in general.
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REGER 6 Intermezzi Op. 45 ADD
12 Pieces "Traume am Kamin" Op. 143
Piano BUTTRICK, John
Jecklin Disco JD601-2 1:04:23
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John Buttrick combines early and late works in his program (1900 & 1915).
Taken with the Bach variations and the Op. 82 pieces below, these works
demonstrate Reger's evolution in technique - the earlier works being more
experimental in nature, and the later works reflecting a mature and assured
compositional style. Very self-assured performances entirely appropriate to
the program.
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REGER 5 Piano Pieces "Aus Meinem Tagebuche" Op. 82 AAD
3 Cello Suites Op. 131
Piano KELLER, Christoph
Cello JUCKER, Rama
Accord 200572 1:00:33
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Reger composed for solo violin, solo viola and for solo cello - the cello
suites predating other contributions in the genre by Bloch, Hindemith and
Britten. These suites are very much in the tradition of Bach's suites and
Reger's melodic gift is evident throughout, with the third suite being the
most "modern" in style. Very nice performances. I also recently heard
the suites performed by Luigi Signorini (Nuovo Era 7016), and was very
impressed with this release as well, though it is considerablely less
music for the money.
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REGER Variations & Fugue (Beethoven) Op. 86a ADD
Introduction, Passacaglia & Fugue Op. 96
Variations & Fugue (Mozart) Op. 132a
Piano VINTSCHGER, Isabel von
Piano VINTSCHGER, Jurg von
Jecklin Disco JD609-2 1:16:43
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Predating his compositions of orchestral music, the works for 2 pianos with
four hands (particularly the Beethoven variations) foreshadow the thicker
textures Reger would employ later in his career. The Beethoven variations
were originally composed for 2 pianos in 1904, and later orchestrated (see
below) in 1915. The other two works constitute the remainder of his works
for 2 pianos (the recent Sony release omits the Beethoven variations in
favor of smaller works for piano 4-hands. Very satisfactory performances.
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REGER Sonata #5 Op. 84 DDD
PROKOFIEV Sonata Op. 94
REINECKE Sonata "Undine" Op. 167
Flute MEISEN, Paul
Piano ROSENBERG, Gabriel
Dabringhaus & Grimm MD&GL3255 1:10:26
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REGER Serenade Op. 77a ADD
Serenade Op. 141a
Flute GRAF, Peter-Lukas
Violin VEGH, Sandor
Viola MOOG, Rainer
Claves CD50-8104 35:04
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The music featuring flute is among Reger's most accessible, however, it is
still completely in keeping with his idiom. While Reger was never a
revolutionary, innovating for innovation's sake, his works (particularly the
later ones) show him striving to incorporate musical traditions into his own
modern style. In doing so he innovated by combining the polyphonic
characteristics of the Baroque period, the forms of the Classical period
and the spirit Romanticism of the 19th century (without the scale) with his
own modern ideas about tonality and melodic expression. It is too bad that
Graf didn't include more material on his release as his playing is wonderful.
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REGER Trio Op. 2 DDD
Trio Op. 102
Gobel Trio Berlin
Etcetera KTC1077 1:09:09
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In his later years, Reger often returned to forms he experimented with in his
youth, typically expanding the scale and scope of the work to express his
mature style. The piano trios are an excellent example of this. The liner
notes for this release, in describing the music of Reger, uses the phrases
"strictness of counterpoint" and "counterpoint pushed to extremes" in
the very same sentence. This seems to be something of a contradiction,
but shows the difficulty analysts seem to have when approaching Reger's
works. As with the quartets below, these works should be in the collection
of any chamber music lover. I've come to expect great things from Horst Gobel
and his trio, and this release does not disappoint.
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REGER Quartet #3 Op. 74 DDD
Philharmonia Quartet Berlin
Thorofon Capella CTH2116 55:32
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REGER Quartet #4 E Flat Major Op. 109 DDD
Quartet #5 F Sharp minor Op. 121
Joachim Quartet
Koch Schwann CD310068H1 1:16:67
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Directly ascended from the quartets of Brahms, whom Reger greatly admired,
the quartets take the next step in the development of the string quartet
form. As demonstrated in the first few bars of the fourth quartet, Reger
was very interested in exploring new ground, but always kept musical
traditions as the starting point and landmark for his development. It's
hard to say enough about these works. they are very simply among the
greatest chamber works of the last 100 years. With no other recordings
currently available, we are fortunate that both of these ensembles turn in
top-notch performances complemented by excellent recordings. Hopefully either
Koch or Thorofon will complete the set for us.
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REGER String Sextet Op. 118 ADD
Zurich Chamber Music Ensemble
Jecklin Disco JD543-2 41:34
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Composed in an 8 week period in 1910, the massive string sextet is near the
pinnacle of large-form chamber music along with the sextets of Brahms and
Dvorak. Several sources seem to indicate that it was this work that brought
the Romantic period to an end, and given the accomplishment, it's hard not
to agree. Superior performance with an adequate recording.
Orchestral Music -
Turning to symphonic forms later in life, Reger created some outstanding
compositions for larger forces. Always returning to musical traditions,
his symphonic variations and tone poems are in many ways the culmination
of his creative spirit and are reflective of the same developmental processes
evident in his chamber and keyboard works. For an introduction to the
orchestral music, the Chandos release is the place to start.
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REGER Concerto F minor Op. 114 DDD
Bamberg Symphony Orchestra STEIN, Horst
Piano OPPITZ, Gerhard
Koch Schwann Musica Mundi CD311058H1 38:59
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REGER Concerto A Major Op. 101 DDD
Bamberg Symphony Orchestra STEIN, Horst
Violin FORCHERT, Walter
Koch Schwann CD311186H1 54:28
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In the tradition and conception of Brahms concertos for the same instruments,
these two concertos reflect Reger's belief that the soloist is part of the
ensemble in a "symphonic" concerto, rather than a virtuoso in a "solo"
concerto. This is not to say that the solo parts are not extremely difficult,
but rather that they are always conceived as part of a larger whole. Both
performers are up to the considerable challenges, and the result is a pair
of beautifully played concertos. The violinist is new to me, but I was
impressed by Oppitz's set of Brahm's piano music, and he continues to impress
with his performance of the piano concerto.
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REGER 2 Violin Romances Op. 50 ADD
Symphonic Prologue for a Tragedy Op. 108
Berlin Radio Symphony Orchestra LAJOVIC, Uros & ALBRECHT, Gerd
Violin MAILE, Hans
Koch Schwann Musica Mundi CD311076H1 53:55
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The two romances for violin & orchestra were written in 1900 as a homage to
Beethoven, and apparently Reger planned the opus number to correspond to
Beethoven's as well. They are spirited show pieces for the violin, with the
soloist much more independent from the orchestra than in the concerto. The
symphonic prologue is really a single movement grand overture for orchestra
lasting nearly 34 minutes. The "tragedy" in question does not represent some
specific literary reference, and indeed was originally called a "dramatic
overture". Hans Maile is an excellent violinist and makes the romances sing.
The recording of the prologue is very good with Albrecht managing to control
the long line within this massive sonata-form work.
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REGER 12 Variations & Fugue on a Theme by Op. 100 DDD
Johann Adam Hiller
4 Tone Poems after Arnold Bocklin Op. 128
Concertgebouw Orchestra Amsterdam JARVI, Neeme
Chandos CHAN8794 1:06:50
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Johann Adam Hiller (1728-1804) is best remembered for his 14 German Singspiel
which was instrumental in establishing the form. Reger's variations & fugue
utilize a theme from the ninth of these within a typical elaborate polyphonic
development supporting the 12 variations. The four tone poems are based on
the paintings of Arnold Bocklin (1827-1901), a Swiss painter of the Symbolist
movement best known for "The Isle Of The Dead" which Rachmaninoff used as
inspiration for his symphonic poem, are among the very few departures Reger
made from "absolute" music into program music. These two opuses are the most
impressive orchestral works by Reger currently available on CD, and the
Jarvi/Chandos team is superior in every respect.
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REGER Variations & Fugue on a Theme by Op. 86 AAD
Beethoven
Suite in the Olden Style Op. 93
Concerto in the Olden Style Op. 123
Nuremberg Symphony Orchestra KLOSS, Erich & NEIDLINGER, Gunter
Colosseum COL34.0703 58:41
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As mentioned earlier, the Beethoven variations were orchestrated by Reger from
his version for 2 pianos. The dense textures written for the 2-piano version
lend themselves perfectly to an orchestral treatment. The two pieces "in the
Olden Style" are true to their description and provide a didactic dissertation
in the musical characteristics that Reger held dear. The performances are
very good, but the sound is only adequate with very little clarity or openness.
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REGER Andante "Lyrical" in D Major ADD
BRUCH Serenade on Swedish Melodies Op. 89
SCHUBERT Overture D. 8
VOLKMANN Serenade #1 Op. 62
WEBER, C.M. 6 "Ecossaises" J. 29-34
Berlin Radio Sinfonietta STAREK, Jiri
Koch Schwann Musica Mundi CD311067F1 43:35
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Definitely from the lighter side of Reger, the andante was written as a
wedding present for a friend. Nothing exceptional or revolutionary here,
but very pleasant nonetheless revealing Reger's passion for melodic
development very poignantly.
What's Missing -
As can be seen from the opus numbers, there is a great deal that's not been
recorded. Of the more than 145 opuses, the recordings above represent only
27 of these, not counting many unpublished works. Of what is available, I
intend on exploring the chamber music for clarinet, and the organ music, next.
Also, it has come to my attention that a release of the solo violin sonatas
on Jecklin is now available, and I will be tracking this down as well.
--
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dba...@camins.camosun.bc.ca
>
> Following to my offer to provide a Reger discography I received so many
> requests, I decided to put a little research into it and do it right.
> I assume that if there is that much interest, then I might as well post
> it to the group as a whole. So, here's it is.
> What's Missing -
>
The Serkin recording of the piano concerto, now reissued by Sony; the
Colin Davis recording of the Mozart Variations (Orfeo?); is the Bolet
recording of the Telemann Variations still in the catalogue? There is
also a recording by Jarvi on Chandos of the Beethoven Variations,
coupled with a poorly-received Bruckner 8th. Oh, and isn't there a
recording of the Clarinet Quintet available?
Nit picking aside, thanks for a most informative discography. I wish VOX
would reissue their two boxes of Chamber music; I am fortunate to have
picked up a second-hand copy of the box with the 5 string quartets and
have tapes of the string trios, serenades and - perhaps above all - the
fabulous Clarinet Quintet.
--
===============================================================
|Deryk Barker Computer Science Dept. | I have nothing to say,|
|Camosun College, Victoria, BC | And I am saying it. |
|Canada | (John Cage). |
===============================================================
Tony Movshon
response to an unfavorable critic:
------------------------------------------------------------------
Sir,
I am in the smallest room of my house. Your review is
before me. Soon it will be behind me.
Yours,
Max Reger
------------------------------------------------------------------
Tony Movshon
Internet: mov...@nyu.edu
US Mail: Howard Hughes Medical Institute
Center for Neural Science
New York University
4 Washington Place, room 809
New York, NY 10003
Dave Lampson
>In article <1992Jun3.2...@tellab5.tellabs.com>, lam...@tellabs.com (Dave Lampson) writes:
>>
>>[...]
>> What's Missing -
>>
>recording of the Clarinet Quintet available?
I did mention the chamber music with clarinet, actually. I'm debating between
two very well-received sets that include the quintet. The Tudor release
featuring Brunner (724) has the quintet, Albumblatt and sonata for clarinet
& piano #3. The Camerata release featuring Leister (30CM-95/97 3CDs) has all
three sonatas, Albumblatt, as well as the quintet, but takes 3CDs, when
there's only enough to fill 2 reasonably (just about the only major criticism
I've seen of the set). I'll probably go for the (ineffecient & pricey)
Camerata set, being the completist that I am.
>[...] I wish VOX
>would reissue their two boxes of Chamber music [...]
I didn't know that they had this in their vaults. I speak with them
on occasion, and I'll mention that there is some interest in seeing this
released.