Max Reger, the creator of forbiddingly difficult organ music, could also take a different tack. His “Thirty Little Chorale Preludes“ are intended for semiprofessional organists always on the lookout for good organ chorales for use in Sunday church services. Reger selected the best-known tunes of his day from the Lutheran hymnal. Most of them are still in use today and form excellent additions to modern services. Michael Kube, in a detailed preface, draws a vivid picture of the composer and his superhuman creative powers.
- Ach bleib mit deiner Gnade op. 135a,1
- Allein Gott in der Höh sei Ehr op. 135a,2
- Alles ist an Gottes Segen op. 135a,3
- Aus tiefer Not schrei ich zu dir op. 135a,4
- Ein' feste Burg ist unser Gott op. 135a,5
- Eins ist Not; ach Herr, dies Eine op. 135a,6
On 28 February 1914, Max Reger collapsed after giving a concert in Hagen, Westphalia. The composer was completely exhausted from the demands of almost daily concert appearances, whether as a soloist and chamber musician at the piano or as the conductor of the court orchestra in Meiningen. He returned to Meiningen seriously ill (the diagnosis read “paralysis of the nerves” … 계속
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.|
Avec cette nouvelle édition,
From Henle comes a fine new edition of Reger's short and useful chorale preludes op. 135a of 1914.
La presente edizione si distingue per chiarezza e precisione, per la dettagliata prefazione in cui il revisore ci mostra un ritratto a tutto tondo del compositore.
Al di là dell'uso liturgico ed eventualmente concertistico questa raccolta si raccomanada soprattutto per la sua valenza didattica, come avviamento e scoperta del mondo sonoro regeriano.