The album features four sonatas for cello and piano, three suites for cello, and a "response composition" – the Aria from the Suite for Violin, Op. 103a (in the author's arrangement for cello). The cello sonatas were created by Reger at the end of the 19th century and in the early years of the 20th century. They capture the musician's interest in Romantic music and his belief in its system of expressiveness. One can hear passages characteristic of one of the greatest Romantic composers, Johannes Brahms. At the same time, Reger's music is independent; in the sonatas, he addresses new trends. For example, he works with atonality in the Fourth Sonata and returns to a grand Romantic ideal in the finale of the piece. In it, one can also detect the influence of Ludwig van Beethoven.
The cello suites appeared later, in 1914, and represent the mature work of Max Reger. At this time, the composer was experiencing a creative stagnation, looking for ways to escape "restorative" practices and find his own ideas. Here, one can hear how Reger "tries on" Bach's techniques, testing how the style of his cello suites could be transformed in the 20th century. Gradually, the musician moves "along the line" of musical styles and uses the arsenal of Romantics in the Third Suite.
The music of Reger has been performed by Russian cellist Alexander Zagorinsky and Norwegian pianist Einar Steen-Nøkleberg. Their duo is interesting not only for the high technical capabilities required for Reger's compositions but also for the playfulness that suggests a true partnership between the performers, showcasing a high-class team effort. The musicians have been performing together for over 20 years.
Max Reger worked at the turn of the 19th and 20th centuries and witnessed both the decline of Romanticism and the storm and pressure of new musical directions. In his work, he combined many trends. Unlike many musicians of the early 20th century, Reger did not consider the classical form to be outdated and sought to fill it with new, relevant content. At the same time, he was searching for new means of expression, which is why the structure of his works adhered to the rules formulated by past musicians. The language reflected the author's philosophical views. Worldwide and in his homeland, Germany, his compositions for piano and organ are the most recognized, in which Max Reger constructed a rich counterpoint.
At the same time, the composer wrote many chamber instrumental pieces. They are less known to the public and do not often appear in concert halls and on records. Among this part of Reger's legacy, two cycles of solo violin sonatas are most frequently performed, full of echoes with Johann Sebastian Bach, whom the musician admired. His compositions for cello have not become favorites among artists. They can be considered rare gems.
The article for the album booklet was written by musicologist Grigory Lyzhov. This edition is dedicated to the 150th anniversary of Max Reger's birth.
