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MAX REGER
Sonata, Op.107 (1908-09) *
30:46
in B flat major • in B-Dur • en si bémol majeur
for Clarinet (or Viola) and Piano
Seiner Königlichen Hoheit dem Großherzog Ernst Ludwig von Hessen und bei Rhein ehrfurchtsvoll gewidmet
1.
Moderato - Molto tranquillo - Sostenuto - Tempo I - Molto tranquillo - (Tempo I) - Molto tranquillo -
12:27
2.
Vivace - Andante - Adagio - Vivace - Quasi adagio
5:14
3.
Adagio
5:46
4.
Allegretto con grazia, vivace - Adagio - Più adagio
7:08
Sonata, Op.49 No.1 (1900) *
20:16
in A flat major • in As-Dur • en la bémol majeur
for Clarinet and Piano
5.
Allegro affanato - Più tranquillo
7:43
6.
Vivace, ma non troppo - Sostenuto - Tempo I. Vivace
4:01
7.
Larghetto, ma non troppo, un poco con moto - Un poco più andante - Più mosso assai -
4:05
8.
Prestissimo assai
4:17
Sonata, Op.49 No.2 (1900) †
in F sharp minor • in fis-Moll • en fa dièse mineur
for Clarinet and Piano
Herrn Karl Wagner zuggeeignet
9.
Allegro dolente
7:51
10.
Vivacissimo - Sostenuto - Vivacissimo
2:41
11.
Larghetto, un poco con moto - Più andante - Più mosso - Tempo I. Larghetto
4:19
12.
Allegro affabile, con moto
5:16
TT:: 71:49
Notes
Michael Collins and Michael McHale here present a new volume in their exploration of the lyrical clarinet repertoire. Their journey through works that encapsulate the variety of nuance and colour of which the instrument is capable, inevitably led them to another great composer for the medium: Max Reger.
The Brahms-influenced (see CHAN 10844), essentially lyrical and tender works recorded here contrast particularly with the more familiar, contrapuntally rich – and loud – organ music usually associated with Reger. The three clarinet sonatas are among fourteen such duo works in his published output, composed between 1890 and 1915: effectively his entire compositional career. Although his continuing adherence to sonata-form principles is clearly evident in the two Op. 49 sonatas, the greater formal clarity of Op. 107 suggests that the lightness and geniality, even plainness, which Reger ascribed to it form part of an underlying ‘classical’ simplicity of conception, for all the music’s ‘modernistic’ surface.
On top of his conducting career (City of London Sinfonia, Philharmonia Orchestra) and various recitals around the world, Michael Collins will hold a four-concert residency at LSO St Luke’s in the 2017 – 18 season, dedicated to chamber music and including recitals with Michael McHale.
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Reviews
Album: **** (Recommended) Sound 4/5
Bertrand Hainaut - Diapason magazine (France) - October 2017
“... The recital has power and vigor, full of sumptuous phrasing and lively tempos, especially in the scherzo movements. Collins eaves through Reger’s dense chromatic textures with a sturdy and flexible tone ... McHale handles the virtuosic keyboard writing with easy and smooth technique and timely dashes of color.”
Patrick Hanudel - American Record Guide - November/December 2017
Recording of the Month
“... Their performance quickly became my preferred recording of the few I have and I cannot see it being bettered soon. Throughout this new recording, Collins and McHale are excellent. As already stated, their choice of tempi is an important factor. Not only does it help the listener get to the spirit of these three sonatas. It also means that their articulation of particular phrases and the changes in speed that these require are sharper and more precise. They are helped by the acoustic and the recorded sound, both excellent ...”
Stuart Sillitoe - Musicweb-International.com - 6 September 2017
Chamber Choice
Performance ***** Recording ****
“Michael Collins’s performance of Reger is mesmerising... “
Erik Levi - BBC Music magazine - November 2017
“...an excellent Chandos recording.”
Peter Quantrill – Gramophone – September 2017
“...Michael Collins and McHale are an established partnership and – through perception, virtuosity and teamwork – open up the many attractions of Reger’s Clarinet Sonatas with considerable persuasion and are very well recorded.” *****
Colin Anderson – ClassicalSource.com – August 2017
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