Max Reger was a prolific composer, but he also died young, at
the age of just 43. The Clarinet Quintet, in fact, was his last
completed work. Because he was so prolific there have been many
misconceptions about him, the kind of misconceptions that generally
are made before even a note of his music has been heard. The
unkindest jibe of all is the old joke that his music, like his
name, sounds the same backwards or forwards.
Nothing could be further from the truth, as these excellent performances
will testify. The Clarinet Quintet is an autumnal work, certainly
inspired by the example of Brahms, and cast in the same key as
Mozart’s Quintet that suits the instrument so well. Reger’s
composition stands worthily alongside them both. If this claim
seems extravagant, just listen to the Reger’s magical opening
paragraph.
The role of the clarinet is never concertante in nature; that
is not Reger’s intention. Rather his preference is to create
a partnership of equals, a beautiful blending. Thus the tone
is intimate, and this performance is wholly committed to his
cause, with recorded sound which is unquestionably appropriate
to chamber music. The warmth of the sound seems just right, while
the Ensemble Villa Musica capture the spirit of the music to
perfection. Rhythmically their performance is slightly more vital
than their chief CD rival, the Naxos recording with Wenzel Fuchs,
and the Philharmonia Quartet of Berlin (Naxos 8.554510). Both
performances do Reger justice, but this new one has that little
bit more variety, and Ulf Rodenshäuser is a first-rate clarinetist.
Whereas the Naxos CD has Reger’s Fourth String Quartet
as the coupling to the Quintet, MDG offer another chamber work,
the String Sextet of 1910-11. This too is a substantial piece,
nearly forty minutes in duration, closely organised music of
great sincerity and sufficient variety to sustain such a span.
There is a rich string sound, well recorded, and the slow movement,
Largo con gran espressione, is the jewel in the crown, the heart
of the work in every conceivable sense. The Villa Musica players
create a sonority that itself is satisfying, but Reger’s
subtle musical development will prove more rewarding with each
new acquaintance.
Terry Barfoot
Ensemble Villa Musica 
