Max Reger's music is as intriguing as it is problematic. His music is on the border of the late romantic and modern era. Just like with this led to music that demands a lot from the musicians and the listeners. Still, the epoque-making Schönberg succeeded better in becoming 'classic'. In that respect Max Reger is still considered a problem composer who needs missionary support. His gigantic Violin
… Concerto (in this issue) even now manages to scare off his biggest fans. Yet his music also has its popular highlights. Such as some organ works, the Clarinet Quintet and Mozart variations. And that's enough to make real fans curious about more. This box of orchestral works contains many attractive items, such as the magnificent Piano Concerto, the Symphonic Prologue and the Four Tone Paintings after paintings by Böcklin. These are pieces that make it clear that that fierce Reger actually had a lyrical nature. Remarkably, the symphony genre is missing; this mainly concerns suites, variation series, character pieces. This lyrical impression is also confirmed by the (choral) songs with orchestra. There are many beautiful things to be found here. Like the grandiose (but unfinished) Requiem, with its compelling (but abruptly breaking) Dies irae. The performance on this CD is probably the only one ever. And then the breathtaking Gesang der Verklärten (op.71, dedicated to Reger's wife Elsa), which, despite all the delicate lyrics, sometimes balances dangerously on the border of total chaos. Psalm 100, on the other hand, shows more of the burlesque Reger, following the example of Bach and Wagner's Meistersinger. (HJ) This lyrical impression is also confirmed by the (choral) songs with orchestra. There is a lot of beauty to be found here. Like the grandiose (but unfinished) Requiem, with its compelling (but abruptly breaking) Dies irae. The performance on this CD is probably the only one ever. And then the breathtaking Gesang der Verklärten (op.71, dedicated to Reger's wife Elsa), which, despite all the delicate lyricism, sometimes balances dangerously on the border of total chaos. Psalm 100, on the other hand, shows more of the burlesque Reger, following the example of Bach and Wagner's Meistersinger. (HJ) This lyrical impression is also confirmed by the (choral) songs with orchestra. There are many beautiful things to be found here. Like the grandiose (but unfinished) Requiem, with its compelling (but abruptly breaking) Dies irae. The performance on this CD is probably the only one ever. And then the breathtaking Gesang der Verklärten (op.71, dedicated to Reger's wife Elsa), which, despite all the delicate lyricism, sometimes balances dangerously on the border of total chaos. Psalm 100, on the other hand, shows more of the burlesque Reger, following the example of Bach and Wagner's Meistersinger. (HJ) dedicated to Reger's wife Elsa), which, despite all the delicate lyricism, sometimes balances dangerously on the border of total chaos. Psalm 100, on the other hand, shows more of the burlesque Reger, following the example of Bach and Wagner's Meistersinger. (HJ) dedicated to Reger's wife Elsa), which, despite all the delicate lyricism, sometimes balances dangerously on the border of total chaos. Psalm 100, on the other hand, shows more of the burlesque Reger, following the example of Bach and Wagner's Meistersinger. (HJ)more
