Album insights
Paul Hindemith once remarked when asked about the significance of Max Reger in later years, "Max Reger was the last giant in music. I cannot imagine myself without him." Hindemith's profound reflection on the field of composition and musical history led him to make this weighty statement deliberately. By unequivocally acknowledging Reger's stature, he indirectly called for a reevaluation of the prevailing post-war opinion that this composer had been largely forgotten, a view supported by the lack of enduring appreciation for Reger's music like that enjoyed by Strauss's operas or the impact of Schoenberg's twelve-tone music.
Germany faced a dearth of authentic Reger interpretation following 1933, as prominent Reger performers such as Adolf Busch and Rudolf Serkin emigrated. Despite efforts in the 1950s to revive interest in Reger through radio broadcasts and the maintenance of his organ and choral works, his music was largely dismissed by the post-war avant-garde as outdated. It was only with the post-modern reconsideration of tonality and a renewed focus on expressive principles that Reger's music reclaimed a place in modern aesthetics. Hindemith's comparison of Reger to a "composer's composer" stemmed from his belief that Reger possessed a unique mastery of tonal forces and musical elements, akin to Bach and Schönberg.
Reger's early career was marked by admiration for Brahms, as he sought to counter the perceived decline in modern music by following Brahms's musical language and ethos. This ideological conflict led him to emphasize the craftsmanship of composition to bridge the gap between modern and conservative attitudes. However, amidst the aesthetic upheavals of the pre-war era, Reger's effortless mastery of his craft was seen as a reflection of bourgeois self-satisfaction. His music evolved into a deliberate aesthetic and compositional alternative, combining traditional genres, forms, and techniques with a refined musical language.
Although Reger was known for his proficiency on piano and organ, he aimed for universal appeal in his compositions, particularly for various instrumental ensembles and audiences. His extensive contributions to violin music, seen in a series of sonatas and works for violin solo, showcased his ability to cater to diverse musical tastes and contexts. Reger's Violin Concerto, marked by a blend of complexity and beauty, represented his attempt to honor and surpass the German musical tradition while struggling with the influence of past masters like Beethoven and Brahms.
Reger's Violin Concerto, dedicated to Henri Marteau and premiered in 1908, faced initial criticism and challenges from both musicians and critics. Though met with skepticism, Reger staunchly defended the concerto's structural integrity and refused suggestions for revisions. The concerto's rich thematic content and virtuosic demands on the soloist embody Reger's symphonic aspirations, despite the work's complexities and ambiguities in conveying its intended message.
Reger’s dedication to his craft, highlighted through the Violin Concerto and other compositions, reflects a relentless pursuit of musical excellence overshadowed by a conflicted artistic persona. Despite efforts to refine and revise his works by subsequent performers like Adolf Busch, the essence and power of Reger’s music lie in its innate beauty and innate expressiveness.