The plum here is Reger’s Romantic Suite. The performance captures both Schoenberg’s intention in his transcription (that the essence of the piece should be conveyed although using only nine instruments) and another quality that must have been part of the appeal of Schoenberg’s Society for Private Musical Performances, the sheer fun that he and Rudolf Kolisch (violins; Kolisch also helped with the transcription of Reger’s piece), Anton Webern (cello), Alban Berg (harmonium), Eduard Steuermann (piano) and their friends had in taking on works that they would not otherwise have been able to hear, let alone play. Some of that feeling comes from the players here being members of the orchestra of the Lyon Opera, encouraged by their Musical Director, Kent Nagano to get out of the pit every now and again. They are audibly relishing the experience, which combines the pleasures of chamber music, solo performance and doing their damnedest to evoke as much as possible of Reger’s opulence and rich fantasy. They manage extremely well, adding so much verve and a joyful lightness of touch and texture that I can hardly imagine a more ‘authentic’ performance giving more pleasure.
The Emperor Waltz is almost as delightful. This is one of Schoenberg’s most ‘creative’ transcriptions, in which textures and figurations are re-thought for a fundamentally different medium. His affection for the piece shines through this, and so does the players’ gratitude at being given something idiomatic to do rather than attempting to imitate a full orchestra. Roses from the South is less radical, but no less enjoyable, and the pretty arrangement of Schubert’s Standchen (“Hark! hark! the lark”) is most stylishly sung as well as crisply played. Only Denza’s exuberant song is transmogrified into genteel chamber music, while Sioly’s Viennese street-ditty (with guitar and mandoline giving it an agreeably Schrammel flavour) is over far too soon – it plays for no more than 37 seconds. Most enjoyable, and very cleanly recorded.'