The choice of sonatas for this album is by no means random, because both are landmarks in Reger‘s oeuvre. Sonata No. 4, written in 1903, brought Reger his breakthrough thanks to performances by the Belgian violinist Henri Marteau (always with Reger at the piano). From then on, alongside Richard Strauss, he was considered the ultimate exponent of modern music, either celebrated or feared, but always with recognition of his undoubted craftsmanship. The word “wild rain” is a fine characterization for the works of these years. Quite different is Reger‘s last contribution to this genre. Sonata No. 9, written a good year before his death, was particularly close to his heart. He himself spoke of a “completely new style”, and in fact the work stands out against some earlier compositions in its tendency towards motivic economy, combined with intensive work on details. The harmonic, motivic, tonally excessive expression, which had earned him the reputation of the “wild Reger”, is canceled here. - Johannes Prelle, trained with Max Rostal, was active in various German orchestras from 1964 on. From 1980 to 1996 he was the primarius of the Leonardo Quartet, which was particularly devoted to 20th century music. From 1986 to 2002 he headed a college class for violin and chamber music at the Wuppertal department of the Cologne University of Music.

Honegger, A.: Symphony No. 1 / Alessandro, R. D': Bassoon Co

Camille Saint-Saëns composed his “Carnival of the Animals“ in 1886 for a house concert. For the time being the only performance of the piece took place there, since the composer had forbidden the publication of his work during his lifetime. As a reason for this, he stated that he feared that the suite could become so popular that his other, more important works were not given enough attention. Indeed, the “Carnival of the Animals” is Saint-Saëns’s best-known work today, 70 years after his death. “Ma mère l‘Oye” was originally a suite for piano four hands, which Maurice Ravel wrote in 1908 for the two children of his friend Cyprian Godebsky and dubiously tit-led Pavane de la Belle au bois. It owes its later title to the collection of fairy tales by Charles Perrault (1628-1703), “My mother the goose” from the early 17th century, which is still popular in France today. In 1911 the composer wrote an orchestral version, and one year later he expanded it into a seven-part ballet music. On January 29, 1912, the work was premiered at the Théatre des Arts in Paris. The five small pieces that make up the piano suite are preceded in the orchestral version by a prelude and a spinning wheel dance; they are also connected by interludes.

Piano Recital: Holtmann, Heidrun - SCHUMANN, R. / LISZT, F.

Mompou, F.: Cancons I Danses - Nos. 1, 2, 3, 4, 6, 10, 11, 1

Musica Fiorita (Early Baroque Instrumental Music from Italy)

ROYAL WINTER MUSIC

Piano Recital: Laun, Susan von - HAYDN, J. / BACH, J.C. / MO

Die schonste Kunst, ein Mensch zu seyn

ABBEY ROAD: A CAPELLA

Handel, G.F.: Giove in Argo [Opera]

Ferdinand & Mendelssohn: Piano Quartets

Onslow, G.: Piano Trios Nos. 7 and 8

Vocal Music - Hauptmann, M. / Wolf, H. / Schumann, R. / Mend

Tchaikovsky & Martinu: Piano Trios