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.
목차/세부정보
- 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
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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
작곡가 소개
Max Reger
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. |
Klare Empfehlung.
Avec cette nouvelle édition, bénéficient de la gravure la plus élégante, et de quelques suggestions judicieuses de l’éditeur, en particulier dans le domaine des liaisons et des nuances.
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.