Classical Editor: Rob Barnett


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Reviews from other months
MAX REGER (1873-1916) Hiller Variations (1907) [45.50] Ballet Suite (1913) [19.10]  Bamberg SO/Horst Stein recorded 1990 and 1991, Bamberg KOCH SCHWANN 3-11150-2 H1 [66.00]

 


Crotchet



The Hiller Variations remind one of Brahms in the Academic Festival Overture. The variations are claimed to be humorous but this must be a rather porcine humour. The theme is played andante and evolves through variations which foreshadow Schmidt (Var 1), echo Brahms' Second Symphony (2), a lullaby; chirpy woodwind, and a poco vivace chummy jollity like Siegfried Wagner in his Pancake Dance. Tubby horns scorch and jump (5). Variation 7 has a nice sense of fantasy and the Ninth is a bubbling allegro con spirito. The allegro of Var 10 most uncharacteristically sweeps in passion's whirlwinds followed by a reflective warm dream (Var 11). The fuga - allegro moderato builds from creeping strings but can do nothing to shake off the sense of the music congealing. The last two movements are substantial: 6.24 and 7.39. My problems are with the work and not as far as I can tell with the performance.

The Ballet Suite opens in stately, old-fashioned style with a turgid big-band sound. By welcome contrast Columbine is almost Tchaikovskian in its subdued passion leading into Harlequin with its fanciful glycerine glistening textures. Even so Reger will not forsake his ponderous lumbering bass but the man could and did write with delicacy as this movement proves. Pierrot and Pierrette is a salon morceau with a prominent solo cello conveying delicacy and charm. The Valse D'Amour is a grand Straussian (Johann) waltz. A wonderful opportunity to catch out your friends with this track. The finale jigs and jogs inconsequentially.

Reviewer

Rob Barnett

Reviewer

Rob Barnett

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