I am unsure whether
these recordings have languished in
the can for a decade. If so, it is criminal,
for this is remarkable pianism in equally
remarkable music. Why Reger seems forbidding
is unclear to me. There is intellectual
rigour there, to be sure (the use of
Variation and Fugue here in itself attests
to that), yet there is also seemingly
infinite variety.
One thing is clear
though. Reger’s music needs an interpreter
possessed of the variety of touch, the
ability to delineate thicket-like textures
and above all the ability to concentrate
relentlessly. Mark Latimer is one such.
The Bach Variations
form very much the meat of this disc.
The theme comes from ‘Seine Allmacht
zu ergründen’, a duet from the
Cantata No. 128, Auf Christi Himmelfahrt
allein. A sequence of fourteen variations
precedes a Fugue of some nine minutes’
duration. There is some playfulness
present in this work (Variation V, a
mere 1’15), but it is the progression
from the calm of the theme to the imposing,
confident Fugue that Latimer highlights,
and to fine effect. Of the variations,
possibly the finest are Nos VII (a still
Adagio) and VIII (an imposing Vivace
that uses the whole keyboard). Latimer’s
depth of sound is well-captured by Warner
here, as elsewhere – step forward Tryggvi
Tryggvason and Andrew Halifax. The granitic
Variation XIV prepares the ground for
the Sostenuto fugue, a fugue that begins
quietly, full of concentration. Reger’s
firm compositional hand is here everywhere
in evidence, the pacing towards the
grand ending equally finely graded by
Latimer.
The Telemann Variations
of a decade later, despite being even
longer, are actually a little easier
on the ear. This comes from the theme,
a jolly minuet from the 1830s, included
in a Suite in Tafelmusik. Latimer,
after the first statement of the theme,
includes only the first-half repeats
for each variation so as to enable both
works to squeeze onto a single CD. There
is much more of a feeling of playfulness
here, and even jubilation (the trill-laden
Variation XIV), while the music-box
evocation of Variation XVII is wonderfully
sweet. Amusingly the Fugue threatens
to break into ‘We wish you a Merry Christmas’
at one point. Hardly intentional, surely,
but amusing nonetheless. Latimer trips
along nicely towards this concluding
fugue’s climax.
Very strongly recommended.
Latimer’s belief in this music is clear,
his technique fully up to the challenges.
Perhaps if this lights your candle,
the next step might be the Clarinet
Sonatas on Haenssler
?
Colin Clarke
Mark Latimer (piano). 
