Max Reger composed his Three Suites for Violoncello solo in 1914/15 for three important cellists and teachers of the time: Julius Klengel, Hugo Becker and Paul Grümmer. Klengel was also friends with the composer. Reger humorously told him of his Opus 131c in summer 1915, calling them “strapping triplets”. He asked the cellist to “use these three things as often as possible in your lessons”, although they presuppose a great degree of skill on the students’ part. For all those who wish to conquer these works in theory, we are now also offering our Urtext edition of the Suites (HN 478) as a study score.
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From Max Reger’s letters to his friends Karl Straube and Hans von Ohlendorff, we know that he composed his Three Suites for Violoncello solo, op. 131 c, in Meiningen in autumn 1914 – and not in Jena in summer 1915, as claimed in Fritz Stein’s catalogue of Reger’s works and in the Complete edition. In April, while convalescing in Merano after a severe breakdown in late … more
About the composer
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.|
About the authors
L'edizione studio Henle beneficia di una puntuale introduzione critica di Susanne Shigihara ed è curata, con la consueta completezza, da Wolf-Dieter Seiffert.
This handy A5 size Study Edition will be useful in the teaching studio.