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There are many recordings of Reger on modern instruments but, however impressive they might sound, to hear Reger on these German romantic/symphonic organs is a revelation. Original Release Date: 2019. After this the briefest of scherzos provides a chattering and almost inane interlude. Hugo Becker received the dedication for the first Cello Suite in G major. He control over the mechanics of the organs is exemplary, ranging from his ability to achieve seamless crescendos to his control of articulation. He died in Leipzig in May 1916 on his way back from a concert tour of the Netherlands. Perhaps most entertaining is the fourth and last part which presents Reger's "analyses"' of his own works written for the yearly festival of the Allgemeiner Deutsher Mttsibverern and later published in Die Musik. The esteem in which his organ compositions were held even in his own time owed much to the advocacy of Karl Straube, also a pupil of Riemann and from 1902 organist at the Thomaskirche in Leipzig. But this assessment changed when Väth came into contact with Reger's later works, These later works also include the Acht geistliche Gesänge op. Those who know Reger's organ works are accustomed to seeing, from a distance, pages of music which look as if they are black – so many notes, dynamic markings and accidentals appear on every single page. O große Lieb from St John's Passion, BWV 245. We have searched far and wide to find the right answer for the The beginning and end of all music, per Max Reger crossword clue and found this within the NYT Crossword on November 5 2022. 138, which schow a simpler Reger …. Stylistically it acknowledges 18th century dance forms before saluting the Tango of our own century.
They represent Regers first organ character pieces. Difficult perfect 4th and perfect 5th double stops. Don't worry though, as we've got you covered today with the The beginning and end of all music, per Max Reger crossword clue to get you onto the next clue, or maybe even finish that puzzle. I assume this is because most of the CDs have previously released as single discs – they are actually in the order of recording, from 2014 to 2016. Each programme has been specially geared toward the organ used, and only one CD uses more than one organ (CD 13, with three organs). Melodic contour is disjunct with many leaps and some half step motion.
Walter Väth studiert an der Universität Tübingen Musikwissenschaft und Germanistik und arbeitet seit November 2014 als Werkstudent im CD-Label des Carus-Verlags. The "cleansing" of his musically overabundant possibilities by limiting himself to one solo instrument. It's with those emphatic words that composer Max Reger once described the great Johann Sebastian Bach (1685-1750). The opening movement makes for a tense and even aggressive prelude, focusing on some highly intense and demanding passagework.
Thomaskantor Karl Straube praised him for the "perfect manner in which he succeeded in reproducing the sound characteristics of the organ on the pianoforte. Want to find out more? Reger's composition, the Acht geistliche Gesänge, only alludes to Protestant models in certain passages; the clearest reference to these models occurs in Schlachtgesang and in Morgengesang, both of which are composed with many transitions and with eighth-note movement in the accompanying voices, all of which are reminiscent of Bach, whom Reger admired so very much. The recording quality is outstanding, with an extraordinary dynamic range that will test your audio system to the full, in whatever of the various recording formats you are using. 114), but also unexpectedly cheerful and consciously simpler works, for example his Telemann and Mozart variations. Edited and translated by Christopher Anderson. Vialma, the streaming service for classical music and jazz, has carefully selected seven highlights from his extensive repertoire for you to discover. With questions still asked about its composition, it is probably the piece that most people will associate as being by Bach. At the time, this was for me a completely new way of composing. D minor to an emphatic D major chord and a more subdued Adagio. It is among the most significant works for solo cello written since Johann Sebastian Bach's Cello Suites. This piece was supposedly composed for Count Keyserlingk, who instructed Bach to write a work that his personal musician Goldberg would play to him during his frequent bouts of insomnia. However, in these pieces Reger never imitates – in spite of the new simplicity his characteristic harmony is retained. Although intended for a scholarly audience, this book can be appreciated by those with some prior biographical knowledge of Roger and familiarity with his music.
The other three works on this set are all transcriptions of Bach's organ pieces, and I suppose the obvious place to start is the now infamous Toccata & Fugue in D minor, BWV565. The intimate, deeply earnest Adagio (distantly related to a sarabande) resembles in its form the first movement; accordingly strong cyclical elements are at work here as well. Again the sense of improvisation is never far away, as chromatic textures thicken and the Fantasia reaches a final dramatic climax. This effect is also a result of the pianissimo which Reger writes at the end of every piece. Andante con moto, rubato: 3 instances of high plucked thirds (B-flat and G) interspersed with arco in a leaping rhapsodic character. Whether you've never heard a Cello Suite before or can't choose between Glenn Gould's and Wilhelm Kempff's interpretations of the Goldberg Variations, Vialma will have something in store to amaze and to surprise you. Then by a slow movement which forms the centerpiece of the work in every respect, its high-flown eloquence and questing culmination setting the music on an altogether more elevated plane. Bach & Reger: Transcriptions for Piano Duet. Because Reger scholarship is a fairly recent development in America, it is necessary to view this work and the thrust of Anderson's scholarship in light of what others have written and are writing about Reger. Max Reger owed his earlier interest in music to the example and enthusiasm of his father, a schoolmaster and amateur musician, and his early training to the town organist of Weiden, Adalbert Lindner. The variations have become much more than a simple lullaby since!
David Popper: High School of Cello Playing for solo cello (1901-1905). 135b, was written in 1916 and dedicated to Richard Strauss. In fact, the serious and pious Leipzig organist didn't just compose church music and also dabbled in the secular repertoire - not without an occasional dash of humour! As already stated, I do have recordings of some of these transcriptions, but sadly not all, and I must admit to having returned to them regularly, enjoying them every time I listen to them. To be sure, there are still monumental works for organ and large orchestral pieces (think of his Piano Concerto Op. The period in Munich brought the composition of his Sinfonietta, of chamber music, and of fine sets of keyboard variations on themes by Bach and Beethoven, followed in later years by his well-known variations on a theme by Mozart. Enhance your purchase. In 1911 he was invited by the Duke of Saxe-Meiningen to become conductor of the court orchestra, an ensemble established by Hans von Bülow and once conducted by Richard Strauss, at the outset of his career. 1 in F Major, BWV1046 [19:19]. "O mighty love, o love without measure…" Deeply devout, Bach was particularly touched by the story of Jesus Christ's Passion. In 1721, Bach composed six concertos which he dedicated to his Royal Highness of Brandenburg.