Reger: Cello Suite No 2 in D minor, Op 131c No 2

“Alban Gerhardt sometimes struggles to project his cello above the heavy pianism of Markus Becker in the first two sonatas, but the later two (1904 and 1910) fare better. Here, and in the late trio of solo sonatas (Bachian to the core), Gerhardt's tone has lustre and his playing is intuitive.” The Telegraph, 12th April 2008

“Exceptionally rewarding … It would be difficult to find more persuasive advocates than cellist Alban Gerhardt and pianist Markus Becker, both of whom are steeped inside the idiom and know exactly how to present the music with cogency and a sure sense of direction. The Four Cello Sonatas provide a fascinating overview of Reger’s musical development, moving from the Brahmsian warmth of the First to the highly expressionist and unsettling Fourth. With the aid of excellent sound, Gerhardt and Becker map out this musical journey with wonderful sensitivity” BBC Music Magazine, May 2008 *****

“This is a stimulating package, very well played: both artists produce the passionate response demanded of them.” Gramophone Magazine, April 2008

“This is music that makes huge technical demands on the players, and the performances are all outstanding; this set represents an important act of rehabilitation for music that is almost unknown” The Guardian

“Max Reger is often blamed for thickness of musical texture, but although the piano-writing here is certainly prolix, the first two sonatas are imbued with a Brahmsian/classical romanticism and a virility which keeps the music thoroughly alive. The First Sonata surges passionately and heroically at the opening yet the touching second subject sighs very personally, the Adagio 'congran affetto' is gently lyrical and the finale is skittish.
The Second Sonata also sails off agitato and has a brilliant but more muted Scherzo and an engaging Trio. An Intermezzo replaces the slow movement and the finale is a graceful grazioso.
The last two sonatas are more mature, major works in which Reger has left Brahms behind and found his own voice. The highlight of No 3 is a substantial set of variations, Busoni's speciality, and the final sonata is even more impressive, with the cello introducing a kind of motto theme; the melodic writing in the secondary material is characteristically chromatic. There follows a whimsical, tarantella-like Scherzo, a warmly expressive slow movement and an engaging Allegretto con grazia finale.
The Cello Suites are in a direct line from Bach, although not collections of Baroque dances but three- or four-movement works. No 1 ends with a jolly fugue and No 2 includes both a Gavotte and a Gigue. Easily the finest is the Third with its richly sustained, intensely melodic Prelude, a brilliantly contrasted Scherzo and another appealing set of variations for its finale.
This is a stimulating package, very well played: both artists produce the passionate response demanded of them. Alban Gerhardt has a warm, resonant middle register and Markus Becker is well able to undertake the music's considerable virtuosity. The recording is vivid and clear.” Gramophone Classical Music Guide, 2010