Max Reger’s three-movement Violin Concerto has fared quite well on CD, with at least two reference-worthy versions (Wallin/Schirmer on CPO; Scherzer/Blomstedt on Berlin Classics) that do justice to the composer’s massive orchestral forces and technically daunting solo part. Here, however, is a fascinating alternative: a chamber ensemble arrangement of the concerto made by violinist Rudolf Kolisch for the Society for Private Musical Performances, the concert series founded by Arnold Schoenberg that, between 1919 and 1921, devoted itself to meticulously rehearsed and comprehensible readings of then-contemporary music.
Kolisch pared Reger’s huge instrumental contingent down to 10 pieces (flute, clarinet, horn, string quartet, double bass, piano, and harmonium), while making small yet practical adjustments to the difficult solo violin part. The vibrancy and variety of Kolisch’s scoring transcends its original utilitarian purpose, so much so that the loudest, thickest tuttis have a luminescent ring and litheness that Reger’s big orchestra never quite achieves. Indeed, the peculiar harmonium/piano interaction reminds me of the similar chamber-scaled instrumentation of Richard Strauss’ Ariadne auf Naxos, and that’s positive praise.
This release has an odd history, as I learned from annotator and Reger expert Tully Potter. It first appeared in 2003 on the ORF label, shortly after having been recorded, with Alexei Kornienko conducting the Collegium Musicum Corinthia. After quickly disappearing from the catalog, it turned up again in 2007, this time on Preiser. Newly released on Oehms Classics, the orchestra is renamed the Gustav Mahler Ensemble, for reasons not made clear.
The recording balance reflects a resonant concert hall ambience, where the slightly diffuse overall blend conveys largeness and sweep, abetted by Kornienko’s headlong tempos for the big outer movements and violin soloist Elena Denisova’s effortlessly driving technical brilliance. It markedly differs from the closer, more intimate sonics heard in Capriccio’s recent edition with the Linos Ensemble: a smaller-scaled, less fiery, slightly square yet somewhat warmer interpretation, especially in the slow movement, where the sweeter tone of violinist Winfried Rademacher yields more moving results.
As such, I would choose the latter recording to fully absorb the coloristic splendor and expressive potential of Kolisch’s scoring. Yet the proficiency, assurance, and vitality that Denisova, Kornienko, and company consistently display ultimately add up to the preferable interpretation. At the very least, Reger Violin Concerto mavens are truly spoiled for choice.
