Search - Reger, Konwitschny, Lgo :: Hiller Variations

An utter masterpiece...once you get used to it

07/24/2004

(5 out of 5 stars)

"Max Reger is one of those composers who was so influential on music (He is in fact called "the last great Romantic), yet he is largely ignored, and not entirely without reason. In his lifetime, Max Reger developed a musical style so unique that its could earn the adjective "Regerian". His music is defined by unpredictable tonal shifts in the middle of themes, making it somewhat aggravating to listen to. If you're familiar with Prokofiev, there is almost always a similar weird key shift in the theme's harmonic structure; however, his changes are more sudden, and it is the element of surprise and a healthy amount of dissonance that makes Prokofiev enjoyable.



Reger, however, is less enjoyable, although his music possesses the aforementioned unpredictiblity. Unlike Prokofiev, Reger's works are based on chromaticism (constant movement from key to key within a composition). Regerian chromaticism is more melifluous (fluent, smooth) and unnoticeable to the untrained ear, creating what seems like a constant flow of notes with no sense of musical direction. Also, there is no dissonance in Reger's music, which would give the piece more versatility. He seems to be right on the very line between Romanticism and Modernism, like he is trying to pull into the 20th Century, but does not want to leave the 19th Century behind.



However, in my opinion, none of that is any excuse to dismiss Reger as a mediocre composer. I should add that Reger is not like Bach or Mozart (although he was very much influenced by both of them), whose works are satisfying upon first hearing them. Reger takes longer to digest, as is the case with the great Hiller Variations, Op. 100. This remarkable work brings the variation form to new heights, with a lush Romantic sound that makes it a very pleasing piece. The work's spontaneity makes it all the more cool to listen to (it was apparently written in six weeks; he wrote the great final Fugue in one day, May 19, 1907 - Pentecost Sunday - in a frenzy of inspiration). As for the variations, they range from haunting, nocturnal movements to rollicking dances. The theme is beautiful, and parts of it are heard in throughout the variations. The Fugue, noted above, is a contrapuntal wonder worthy of Bach himself --it consists of many layers, all of which come together at the very end, where one should not dare to reduce the volume of sound.



As for the 1961 recording, the orchestra is very strong, as is the sound quality, which brings out the mighty brass and gives one thoughts of the score of a lost era film. There are also parts that recall Brahms and Bruckner, and even herald Richard Strauss. Definitely worth the investment.



I hope you will forgive my long-winded explanation, but I hope the background infromation will assist in your decision to buy the recording. This is one of the truly great masterpieces of the late Romantic era, written by one of the most underrated composers of the late Romantic era. Reger is a great composer; you just have to give him a chance. His work is not always easy to listen to the first time, but it seems to become more enjoyable with each listening. And as long as I'm shooting my mouth off, check out his other works; he was quite prolific (completing close to 150 opus numbers by the time of his death at age 43). His masterpieces include the Violin Concerto (op. 101), the Bach Variations (op. 81), many organ works, and the Clarinet Quintet (op. 146 - his last completed work; for advanced listeners only. Go on, give Reger a try. If you don't like his works, I apologize for this long review.

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