This compilation is aptly titled ‘Reger and Romanticism’
for it is very much in the Late romantic tradition, beautifully drawn,
atmospheric and evocative programme music based on the influences of
the Böcklin paintings and Hölderlin and Von Eichendorff verses.
Reger died relatively young but by the time of his death he was widely
regarded along with Richard Strauss as a leading light in the succession
of great German Classical and Romantic.
The booklet includes reproductions (rather poor ones
it has to be said, particularly of ‘The Isle of the Dead’) of the four
Arnold Böcklin paintings. [Böcklin’s highly romantic pictures
were very much in vogue with prints hung in homes across Europe in this
period]. As it happens the picture of ‘The Isle of the Dead’ decorates
many recordings of the much better known Rachmaninov tone poem so the
loss of detail is not so crucial. It is interesting to compare the two
composers’ different approaches to the same subject. Reger takes a more
mournful stance and is less preoccupied with a literal translation of
muffled oars slipping through misty waters than conveying the painting’s
dark, brooding atmosphere. Much less time is concerned with the character
of the deceased although there is no denying the power of the brief
climax that seems to intimate that, in life, this was a heroic and romantic
figure. The opening movement is a portrait of the ‘Hermit Playing the
Violin’ with violin soloist, Michael Davis, in sweet piety with Botstein
offering an affecting accompaniment. ‘In the Play of the Waves’ is a
sparkling scherzo playfully evoking spirits and mermaids cavorting in
the waves. The final picture showing a classical Bacchanal is a wild
frolic - witty and mischievous. All four sound pictures are vividly
drawn, richly harmonised and colourfully orchestrated.
The Romantic Suite offers three more resplendent
sound-pictures. The opening movement, ‘Night Magic’ is a sumptuous,
realisation of the springs flowing‘ … between lakes and flowers far
to the quiet woodland lakes where the marble statues are erected in
beautiful solitude. Softly coming down the mountains awakening the ancient
songs, the wondrous night descends and the grounds sparkle once again
as you’ve so often seen in dreams.’ Botstein weaves sheer enchantment
here; the music, perfumed, shimmers luxuriously. The ballet-like ‘Fairies’,
the second movement, maintains the spell ‘…We’ve covered the valley’s
dance floor with moonlight, glow-worms light up the ballroom…’, the
music fairy-dainty, gossamer light, puckish and mercurial fleet-footed,
the melodies dewily romantic. ‘Eagle’ brings the dawn with music that
softly brushes aside the mists and dreams of the night to usher in the
magnificence of the rising sun and the awakening of the world. A colourful
crescendo bursting forth in splendour.
Catherine Wyn-Rogers as the dying supplicant in Reger’s
realisation of Hölderlin’s ‘An die Hoffnung’ (To Hope) is suitably
doleful and soulful. ‘Where are you, O hope! I’ve lived so little; yet
I feel the cold breath of my evening …’ cheering briefly for fonder
remembrances of ‘the green valley where the fresh spring flows…"
A sumptuous feast of Late Romantic splendour – music
to set the imagination flying. Heartfelt performances communicated with
verve and attack aplenty; and captured in Telarc’s stunning sound. Heartily
recommended for all unashamed romantics.
Ian Lace
London Philharmonic Orchestra/Leon
Botstein