Eight years after he had composed his fi rst two Clarinet Sonatas op. 49, Reger confessed in a letter to a friend that he was once again committing a new crime against harmony and counterpoint. He was referring to the Sonata for Clarinet and Pianoforte op. 107. Reger made a point of not destroying the chamber music character of the work by having too much virtuosic padding - Brahms developed classic examples of what the style was meant to be like.