Max Reger‘s two string trios stand alongside Mozart‘s Divertimento in E-flat major (K. 563) and Beethoven‘s op. 9 trios at the pinnacle of the genre. In their style and technical demands Reger has clearly taken these admired classical forebears as his guide. Both trios are classicist in nature and delight the listener with their relaxed and occasionally even joyful character. No wonder that they proved highly successful at their premires in 1904 and 1915! For his edition, the Reger specialist Michael Kube has examined the autograph scores and the first editions of both works. This edition in parts also comes in a miniature score with exactly the same text, published in Henle‘s Study Score Series (HN 9722).
- String Trio a minor op. 77b
- String Trio d minor op. 141b
Unlike his string quartets (e. g. op. 74 in d minor) with their advanced language and at times almost symphonic scope, Max Reger’s two string trios (published as opp. 77b and 141b) and the two flute serenades that immediately preceded them (opp. 77a and 141a) are among those works in his rich body of chamber music that convey the impression of a deliberately classicist bent. … 続き
Late-Romantic composer who combines a chromatic tonal language with Baroque and Classical forms, thus anticipating 1920s neoclassicism.
|1873||Born in Brand (Upper Palatinate) on March 19, the son of a teacher. First piano lessons from his mother.|
|1888||After a visit to Bayreuth (for Meistersinger and Parsifal), decides on a career in music.|
|1890–93||Studies 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.|
|1898||Return 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.|
|1901–07||Living in Munich.|
|1903||Publication 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.|
|1904||Breakthrough 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 1905||Instructor at Munich’s Academy of Music. “Sinfonietta” in A major, Op. 90.|
|1907–11||Music 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.|
|1911–14||Director 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|
|1915||He resides in Jena. Late compositions.|
|1916||Death in Leipzig on May 11.|
The present Urtext edition is based on autograph scores owned by the Max-Reger-Institute in Karlsruhe. The generously proportioned Study Score as well as the set of parts comes with a preface and comments on the text. The parts are cleverly arranged in respect of page turns with open ot pages when necessary and the text is free of extraneous markings. Ivory coloured paper assists.
This edition from Henle Verlag has taken great pains to facilitate page turns, and the parts are particularly clear to read.