It’s works like Max Reger’s theosophist cantata The Nuns that make us appreciate how Arnold Schoenberg was inexorably moved to dismantle tonality and create his new system. The music is heavy, pseudo-profound, and written in a thick, gooey chromatic style that rarely settles on a tonic chord for more than a couple of measures. It’s also on the solemn (read: dull) side, with only the brief orchestral interlude in the middle sounding like the Reger we know from the Hiller Variaitons. Even with appropriately pious and passionate singing by the women of the Bamberg Symphony Choir it takes a while for these 29 minutes to go by.
Reger is highly regarded in the German speaking world as a lieder composer. While most of the songs for alto and orchestra are also slow, at least they’re easier to swallow without The Nuns’ harmonic marshmallow topping. There are some very beautiful moments among them, exquisitely sung by Lioba Braun. Although the Cradle Song and My Dream are especially touching, I just wish the artists had included some up-tempo songs (assuming that Reger penned any) in the program. In any event, the Bamberg Symphony Orchestra under Horst Stein’s direction makes the most of these carefully constructed pieces. The full, yet slightly hazy sound suits the music.
