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Serenades for Flute, Violin and Viola op. 77a and op. 141a

PREFACE

In contrast to his more highly-regarded chamber works for larger forces, which at times take on quite symphonic dimensions (the String Quartet in D minor, op. 74, for example), the two serenades published as op. 77a and 141a (and in their respective later manifestations as the String Trios op. 77b and 141b) leave the impression of works of a consciously classical cast with... more

CRITICAL COMMENTARY

About the Composer

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Max Reger

Late-Romantic composer who combines a chromatic tonal language with Baroque and Classical forms, thus anticipating 1920s neoclassicism.

1873Born in Brand (Upper Palatinate) on March 19, the son of a teacher. First piano lessons from his mother.
1888After a visit to Bayreuth (for Meistersinger and Parsifal), decides on a career in music.
1890–93Studies with Hugo Riemann at the conservatory in Wiesbaden, composes chamber works. Thereafter he endeavors to publish his own works as a freelance composer, albeit with multiple failures.
1898Return to his parents’ home in Weiden. Composition of organ works: choral fantasies, “Fantasy and Fugue on B-A-C-H,” Op. 46 (1900); Symphonic Fantasy and Fugue (“Inferno”), Op. 57.
1901–07Living in Munich.
1903Publication of his “On the Theory of Modulation,” causing Riemann to feel attacked because Reger espouses a different understanding of the role of chromatics. “Variations and Fugue on an Original Theme,” Op. 73.
1904Breakthrough with his first performance for the Allgemeine Deutsche Musikverein (General German Music Association). First volume of his “Simple Songs” for voice and piano, Op. 76; String Quartet in D minor, Op. 74, one of the most significant works in that genre at the beginning of the century.
From 1905Instructor at Munich’s Academy of Music. “Sinfonietta” in A major, Op. 90.
1907–11Music director and professor of composition at the University of Leipzig. Orchestral work “Variations and Fugue on a Theme by Hiller,” Op. 100.
1909“The 100th Psalm,” Op. 106, his most popular choral work.
1911–14Director of the royal court orchestra of Saxe-Meiningen.
1912“Concerto in the Old Style,” Op. 123. Orchestral song “An die Hoffnung” (“To Hope”), Op. 124.
1913“Four Tone Poems after A. Böcklin” for large orchestra, Op. 128; “A Ballet Suite,” Op. 130.
1914“Variations and Fugue on a Theme by Mozart,” Op. 132
1915He resides in Jena. Late compositions.
1916Death in Leipzig on May 11.

© 2003, 2010 Philipp Reclam jun. GmbH & Co. KG, Stuttgart

About the Authors

Michael Kube (Editor)

Dr. Michael Kube, born in 1968 in Kiel, studied musicology (with Friedhelm Krummacher and Heinrich W. Schwab), the history of art and ethnology at the Christian-Albrechts-Universität zu Kiel. Since 1998 he has been a research associate at the New Schubert Edition (Tübingen) and since autumn 2002 also a member of the editorial board.

Kube is on the panels of different juries and music prizes, and is also a member of the Committee for work evaluation (Werkprüfungsausschuss) of VG Music Edition. His research interests include music for keyboard instruments around 1700, 19th century chamber music, early 20th century music history, as well as Scandinavian music history.

(...) denn die drei "einfachsten u. sehr melodiösen" Stimmen sind oft aufs Raffinierteste miteinander verzahnt. Da hilft, um sich über manche Stelle einen Überblick zu verschaffen, die Studienpartitur. Deren Notenbild, wie auch das der Einzelstimmen, ist – bei Henle schon gar nicht mehr anders zu erwarten – übersichtlich und bestens lesbar.

Das Liebhaberorchester, 2016

These parts are very clear, and the score is presented in a convenient study edition; both score and parts, which are available separately, include performence comments.

Flute Talk, 2010

Diese beiden Besetzungspendants zu Beethovens Serenade op. 25 stehen jetzt als Stimmen im Neudruck in der bewährten Henle-Urtextausgabe zur Verfügung. Das werden die Interpreten goutieren, gerade weil es sich im Gegensatz zu Regers subjektiver Meinung im Zusammenspiel doch um recht anspruchsvolle und technisch haarige Kammermusik handelt, für die eine solch saubere Lesevorlage Voraussetzung ist.

NMZ, 2008

La presente edizione Henle, basata sulle prime pubblicazioni delle partiturine che vennero revisionate da Reger e i cui rispettivi autografi furono utilizzati come copie degli stampatori, è a cura di Michael Kube, profondo studioso del compositore, nonché già curatore di altre sue opere.

Archi, 2007

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