A traditionalist who honored his German musical heritage, Reger was nonetheless recognized as a formal innovator by modernists such as Arnold Schoenberg. Reger’s own keyboard skills were considerable. These pieces were composed when he was living in Munich in 1904. Ksenia Nosikova probes the depths of these works with insight and sensitivity. Pianist Ksenia Nosikova, praised as “First rate” (Germany’s Fono Forum), “Full of dramatic intensity” (London’s International Piano), “Subtle and expressive” (France’s Journal L’Alsace) “Impressive musicianship, musically very poetic” (Boston Globe), and “Refined sensibility and exquisite pianism” (New York Concert Reviews), has performed extensively in Europe, Asia, Russia, USA, Canada, and South America. The scope of her concert engagements expands from prestigious professional concert venues, such as Weill Recital Hall at Carnegie Hall and Merkin Hall in New York City, and Dame Myra Hess Concert Series in Chicago, to major academic institutions world-wide, including over 180 American universities’ guest artist series. She performed in various music festivals including Amalfi Coast (Italy), Schlern (Italy), Rimini (Italy), Munster (France), and Novi Sad (Serbia), as well as the Aspen and Sarasota Music Festivals in the United States. Her diverse and extensive repertoire list consists of masterworks and lesser-known pieces, as well as over 30 piano concertos. Ksenia Nosikova has recorded for Profil Medien, Albany Records, Centaur Records, and Capstone Records labels.

REVIEW:

Ksenia Nosikova plays the music with affection, lightness of touch, and a smile. It makes all the difference. These small character pieces were Reger’s response to those he called “ignoramuses” for criticizing the complexity of so much of his music. Their style occasionally recalls the piano music of other composers (Chopin’s Berceuse is referenced in the final entry in the First Book of the diaries, which was completed in 1904). Book 2 followed in 1906, Books 3 and 4 in 1912. There is little stylistic development over that span. Reger’s admiration for Bach is evident in some of the pieces, like the Prelude and Fugue that open Book 4 and a Gavotte in Book 3, but even there the style is more Romantic than neo-Baroque.

This lovely collection makes for very pleasant listening, whether in short snippets or even over a longer span. Virtually every one of the 35 miniatures would be an attractive addition to the piano repertoire. A warm, natural piano sound and informative notes by Marian Wilson Kimber round out this fine set. Nosikova’s ability to depict a wide range of moods and colors in this music makes this a happy recommendation.

-- Fanfare (Henry Fogel)