These recordings from the South West German Radio provide
a valuable and useful survey of the vastly under-rated Max Reger's output
for clarinet and piano by two experienced chamber musicians who obviously
share a real affinity for this music. The actual playing order of the
disc is carefully considered, also: the three Sonatas (Op. 107 first,
then the two Sonatas Op. 49) are interspersed with three shorter pieces.
The figure of Brahms looms large over the two Sonatas
that make up Op. 49, and which date from the turn of the twentieth century.
Despite its serene opening, the A flat Sonata Op. 49 No. 1 features
both Brahmsian outbursts (the influence in the tonal richness of the
piano writing is immediately aurally obvious) alongside its more lyrical
sections. Hausmann and Tichman elect for a very fast tempo for the Vivace
Scherzo, notable for some cheeky playing (a trait also later to enliven
the finale). There is a commendably sparing use of the sustaining pedal
from Tichman. The second Sonata of the Op. 49 pair provides opportunities
for Hausman to show off his seamless cantabile. Most notable is the
first movement, marked 'Allegro dolente', in which the intensity of
Reger's writing is matched in performance by this duo. The Scherzi of
the Op. 49 Sonatas are without a doubt more enjoyable than Reger's reputation
as a rather staid and over-academic composer might lead one to believe.
The later Sonata in B flat, Op. 107 dates from the
Winter of 1908-9 (it is therefore contemporary with Reger's setting
of the 100th Psalm and the 'Symphonic Prologue to a Tragedy'). It is
a substantial piece, lasting some 28 minutes. Hausmann and Tichman really
come into their own here, both players being particularly sensitive
to significant harmonic shifts. Indeed, Reger's use of harmony is little
short of compositional virtuosity (the startling juxtaposition of a
Wagnerian sound-world with sudden Mozartian purity towards the end of
the first movement serves as an excellent example of this).
The three miniatures which on the disc puntuate the
three Sonatas were all published in 1902 as an insert in the journal
'Musikwoche'. The 'Albumblatt' and 'Romanze' provide brief and lyrical
interludes while the concluding 'Tarantella' acts as a conclusion to
this generous programme. Only the 'Romanze' feels slower than its 'Andante
con moto' marking, although it has to be admitted that the resultant
atmosphere of aching melancholy is effective in its own way.
A most rewarding disc, then, certainly highly recommended
and well worth investigating. There are no significant contenders for
this programme. Both instrumentalists are accomplished musicians of
the highest order (for more information on Tichman, call up www.ninatichman.com).