570455bk Reger8 US:557541bk Kelemen 3+3 16/3/08 9:45 PM Page 1

The Johannes Klais Organ, Trier Cathedral, (1974)

Hauptwerk 2, Manual C – c’’’’’’ Larigot 1 1/3’ Unda maris 8’ Praestant 16’ Sesquialter 2fach Octave 4’ Principal 8’ Scharf 4fach Flute octaviante 4’ Also available Hohlflöte 8’ Glockencymbel 2fach Salicional 4’ Gemshorn 8’ Dulzian 16’ Flageolett 2’ Quinte 5 1/3’ Cromorne 8’ Fourniture 6fach Octave 4’ Cor anglais 16’ REGER Nachthorn 4’ Brustwerk 3. Manual (schwellbar) Trompete 8’ Terz 3 1/5’ C – c’’’’ Clairon 4’ Quinte 2 2/3’ Rohrflöte 8’ Superoctave 2’ Praestant 4’ Pedal C –g’ Chorale Fantasia Cornett 5fach Blockflöte 4’ Untersatz 32’ Mixtur 5fach Nasard 2 2/3’ Principal 16’ on ‘Ein feste Burg Cymbel 3fach Doublette 2’ Subbass 16’ Trompete 16’ Terz 1 3/5’ Octave 8’ Trompete 8’ Sifflet 1’ Spielpfeife 8’ ist unser Gott’, Trompete 4’ Acuta 4fach Superoctave 4’ Oberton 3fach Flöte 4’ Op. 27 Rückspositiv 1. Manual C – c’’’’ Hautbois 8’ Hintersatz 5fach 8.554207 8.555905 Praestant 8’ Vox Humana 8’ Aliquotbass 4fach Quintade 8’ Piffaro 2fach Gedackt 8’ Schwellwerk 4. Manual C- c’’’’ Bombarde 32’ Little Chorale Principal 4’ Bordun 16’ Posaune 16’ Rohrflöte 4’ Principal 8’ Trompete 8’ Preludes, Op. 135a, Octave 2’ Lochgedackt 8’ Schalmey 4’ Waldflöte 2’ Gamba 8’ Get this free download from Classicsonline! Nos. 11–30 Koppeln: RP-HW, BW-HW, SW-HW, BW-RP, SW-RP, SW-BW, RP-P, HW-P, BW-P, SW-P Rheinberger: Organ Sonata No. 6 ‘Fuga’ Tremulanten: RP, BW, SW, PED Copy this Promotion Code NaxhD4Y9o1Sj and go to http://www.classicsonline.com/mpkey/rhein_main. Röhrenglocken: (HW) Windauslass-Ventile: HW, SW Downloading Instructions C Tastenarretierung: HW 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at 1920 elektronische Setzerkombinationen, Registercrescendo (Walze) http://www.classicsonline.com/UserLogIn/SignUp.aspx. Martin Welzel M Spieltraktur mechanisch, Registertraktur elektrisch Betätigung der beiden Schweller mechanisch. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Johannes Klais Organ, Trier Cathedral Y K 5 8.570455 6 8.570455 570455bk Reger8 US:557541bk Kelemen 3+3 16/3/08 9:45 PM Page 2

Max Reger (1873–1916) owed his earlier interest in music to the example in Jena, but continuing his active career as a composer and voices, as the textures become predominantly chordal. The complexity at the centre of the work. Organ Works Vol. 8 and enthusiasm of his father, a schoolmaster and amateur as a concert performer. He died in Leipzig in May 1916 on final Maestoso statement, das Reich muss uns doch bleiben The Prelude and Fugue in F sharp minor of 1912, musician, and his early training to the town organist of his way back from a concert tour of The Netherlands. (The city of God remaineth) is followed by a short dedicated to Reger’s friend Hans von Ohlendorff, is a 1 Chorale Fantasia on ‘Ein feste Burg ist unser Gott’, Op. 27 16:11 Weiden, Adalbert Lindner. Reger was born in 1873 at The music of Max Reger has a special position in organ pianissimo shift to F major, before the final D major reworking of two piano pieces from Aus meinem Tagebuch. Twelve Pieces, Op. 80, No. 7 Brand in the Upper Palatinate, Bavaria. The following year repertoire, and he is regarded by many as the greatest proclamation of faith. Relatively straightforward, but with characteristic modula- 2 Scherzo in F sharp minor 5:14 the family moved to Weiden and it was there that he spent German composer of organ music since Bach. A Catholic The Twelve Pieces, Op. 80, are dated 1902 and 1904 and tions and chromatic elements, the Prelude leads to a four- his childhood and adolescence, embarking on a course of himself, he nevertheless drew on Lutheran tradition and the dedicated to the Breslau organist Otto Burkert. The seventh voice fugue in which the subject is heard in the tenor, Thirty Little Chorale Preludes, Op. 135a, Nos. 11–16 training as a teacher when he left school. Lindner had sent rich store of chorales, the inspiration for chorale preludes, piece, Scherzo, is in F sharp minor, with the rapid modu- answered in the alto and then the soprano, with the final 3 11. Herr Jesu Christ, dich zu uns wend 1:03 examples of Reger’s early compositions to his own former chorale fantasias and other works. The esteem in which lations that are a general feature of Reger’s work. There is bass entry in the pedals. 4 12. Jerusalem, du hochgebaute Stadt 1:10 teacher, Hugo Riemann, who accepted Reger as a pupil, at his organ compositions were held even in his own time a contrasting chordal trio section that returns briefly in Without an opus number, like the preceding work, the 5 13. Jesus, meine Zuversicht 1:47 first in Sondershausen and then, as his assistant, in owed much to the advocacy of Karl Straube, also a pupil of conclusion. The eighth piece, Romanze, is in A minor and Introduction and Passacaglia in D minor was first published 6 14. Liebster Jesu, wir sind hier 1:53 Wiesbaden. Military service, which affected Reger’s health Riemann and from 1902 organist at the Thomaskirche in in a gentle 6/8. in 1900 in an album for the benefit of a new organ for 7 15. Lobe den Herren, den mächtigen König der Ehren 1:04 and spirits, was followed by a period at home with his Leipzig. The Dreißig kleine Choral-Vorspiele zu den gebräuch- Schönberg im Taunus. He pointed out in a letter to the 8 16. Macht hoch die Tür 1:16 parents in Weiden and a continuing series of compositions, The monumental Chorale Fantasia on ‘Ein feste Burg ist lichsten Chorälen (Thirty Little Chorale Preludes on the editor of the collection, Ludwig Sauer, that he had Twelve Pieces, Op. 80, No. 8 in particular for the organ, including a monumental series unser Gott’, Op. 27, was written in 1898 and dedicated to most common chorales), Op. 135a, were published in 1914 deliberately kept the work simple, so that, as he said, a 9 Romanze in A minor 4:29 of chorale fantasias and other compositions, often, it seems, Karl Straube, presenting an obvious challenge. With the and dedicated to Hans von Ohlendorff. They serve a prac- reasonably well trained organist should be able to play the Thirty Little Chorale Preludes, Op. 135a, Nos. 17–23 designed to challenge the technique of his friend Karl direction Allegro vivace (ma pomposo), it starts with a tical purpose and make relatively few demands on a Passacaglia at sight. It is true that the work avoids the 0 17. Meinen Jesum lass ich nicht 1:55 Straube, a noted performer of Reger’s organ music. passage for the pedals, before the chorale is introduced in performer, but still preserve Reger’s particular characteristic heavy demands and complex textures of such compositions ! 18. Nun danket alle Gott 1:11 In 1901 Reger moved to , where he spent the the left hand, with the busy pedal part below and a similar of modulation and chromaticism, here within technical as the Chorale Fantasia with which the present recording @ 19. O dass ich tausend Zungen hätte 1:08 next six years. His position in musical life was in some texture for the right hand above. This is in D major, but the limits. opens, and for this reason is heard more frequently than # 20. O Gott, du frommer Gott 2:09 ways an uneasy one, since he was seen as a champion of passage ends with a grandiose homophonic setting of the Reger’s Romanze in A minor, appeared in 1904. It is might otherwise have been the case. The solemn intro- $ 21. O Haupt voll Blut und Wunden (Herzlich tut mich verlangen) 3:43 absolute music and as hostile, at this time, to programme words Er hilft uns frei aus aller Not, the third line of Martin published among works without opus number and was duction is followed by the Passacaglia bass, on the pedals, % 22. O Welt, ich muss dich lassen 1:20 music and to the legacy of Wagner and Liszt. He was suc- Luther’s hymn, in the key of B flat. The chorale continues originally intended for harmonium, but later adapted for above which the manuals offer succeeding variations. ^ 23. Valet will ich dir geben 1:03 cessful, however, as a pianist and was gradually able to find in D major with the fifth and sixth lines, Der alt böse Feind the organ. Marked Andante con moto it is in 6/8, with dotted an audience for his music. The period in Munich brought / mit Ernst er’s jetzt meint, capped again by the massive B figuration, its gentle lilt leading to textures of greater Keith Anderson & Romanze in A minor (1904) 4:12 the composition of his Sinfonietta, of chamber music, and flat version of the following words. The first verse of the Thirty Little Chorale Preludes, Op. 135a, Nos. 24–30 of fine sets of keyboard variations on themes by Bach and chorale continues in the same way. The second verse, Mit * 24. Vom Himmel hoch, da komm ich her 1:05 Beethoven, followed in later years by his well-known unsrer macht ist nichts getan, starts quietly, with the melody Martin Welzel ( 25. Wachet auf, ruft uns die Stimme 1:20 variations on a theme by Mozart. in the pedals, but still in the tenor register, with the busy Born in 1972, Martin Welzel received his musical training in from Michael ) 27. Was mein Gott will, das g’scheh allzeit 1:07 1907 brought a change in Reger’s life, when he took the texture of the manuals heard above and below. Each section, Landsky, Wilfried Langosz, and Käte van Tricht. He later studied with , ¡ 28. Wer nur den lieben Gott lässt walten 1:08 position of professor of composition at the University of in D major, is followed by a chordal B flat major version. Wolfgang Rübsam, and Gerald Hambitzer at the Hochschule für Musik Saar in ™ 29. Wie schön leucht’t uns der Morgenstern 2:14 Leipzig, at a time when his music was reaching a much The third verse, marked Allegro moderato, offers textures Saarbrücken, where he earned Bachelor and Master of Music degrees in sacred music, £ 30. Wunderbarer König 1:04 wider public. This was supported by his own distinction of bewildering complexity, to the words Und wenn die Welt as well as a Master’s Degree and Artist Diploma in organ performance, both with ¢ 26. Was Gott tut, das ist wohlgetan 1:18 as a performer and concert appearances in London, St voll Teufel wär (And were this world all devils o’er), the highest honours. He holds a DMA degree from the University of Washington in Prelude and Fugue in F sharp minor (1912) Petersburg, The Netherlands, and Austria, and throughout tenor melody now played by the right foot, with a left-foot Seattle, where he studied with Carole Terry. As a concert artist Martin Welzel has ∞ Prelude 3:14 Germany. In 1911 he was invited by the Duke of Saxe- pedal quaver foundation to the elaborate chords of the performed extensively throughout and the United States. Engagements have § Fugue 3:09 Meiningen to become conductor of the court orchestra, an manuals, before the melody is given out in octaves by the included performances at Washington National Cathedral, Meyerson Symphony Center ensemble established by Hans von Bülow and once con- right hand, while left hand and pedals provide a busy in Dallas, Stanford University, and St Sulpice in Paris. His large repertoire spans from ¶ Introduction and Passacaglia in D minor (1899) 7:55 ducted by Richard Strauss, at the outset of his career. Reger counterpoint. The last verse of the chorale starts with the early music to works by contemporary composers. Special areas of interest include the held this position until the beginning of the war, when the melody played by the right hand, before moving to octaves music of and Max Reger. In 2004 Martin Welzel and his wife, orchestra was disbanded, an event that coincided with his in the left and to the right hand again. The pedals take up Alexandra Kertz-Welzel, formed the Emerald City Duo, exploring the repertoire of own earlier intention to resign. He spent his final years based the chorale, of which the opening phrase is heard in various Photo by Alexandra Kertz-Welzel the nineteenth and twentieth century for organ and piano (www.emeraldcityduo.com). 2 8.570455 3 8.570455 4 8.570455 570455bk Reger8 US:557541bk Kelemen 3+3 16/3/08 9:45 PM Page 2

Max Reger (1873–1916) Max Reger owed his earlier interest in music to the example in Jena, but continuing his active career as a composer and voices, as the textures become predominantly chordal. The complexity at the centre of the work. Organ Works Vol. 8 and enthusiasm of his father, a schoolmaster and amateur as a concert performer. He died in Leipzig in May 1916 on final Maestoso statement, das Reich muss uns doch bleiben The Prelude and Fugue in F sharp minor of 1912, musician, and his early training to the town organist of his way back from a concert tour of The Netherlands. (The city of God remaineth) is followed by a short dedicated to Reger’s friend Hans von Ohlendorff, is a 1 Chorale Fantasia on ‘Ein feste Burg ist unser Gott’, Op. 27 16:11 Weiden, Adalbert Lindner. Reger was born in 1873 at The music of Max Reger has a special position in organ pianissimo shift to F major, before the final D major reworking of two piano pieces from Aus meinem Tagebuch. Twelve Pieces, Op. 80, No. 7 Brand in the Upper Palatinate, Bavaria. The following year repertoire, and he is regarded by many as the greatest proclamation of faith. Relatively straightforward, but with characteristic modula- 2 Scherzo in F sharp minor 5:14 the family moved to Weiden and it was there that he spent German composer of organ music since Bach. A Catholic The Twelve Pieces, Op. 80, are dated 1902 and 1904 and tions and chromatic elements, the Prelude leads to a four- his childhood and adolescence, embarking on a course of himself, he nevertheless drew on Lutheran tradition and the dedicated to the Breslau organist Otto Burkert. The seventh voice fugue in which the subject is heard in the tenor, Thirty Little Chorale Preludes, Op. 135a, Nos. 11–16 training as a teacher when he left school. Lindner had sent rich store of chorales, the inspiration for chorale preludes, piece, Scherzo, is in F sharp minor, with the rapid modu- answered in the alto and then the soprano, with the final 3 11. Herr Jesu Christ, dich zu uns wend 1:03 examples of Reger’s early compositions to his own former chorale fantasias and other works. The esteem in which lations that are a general feature of Reger’s work. There is bass entry in the pedals. 4 12. Jerusalem, du hochgebaute Stadt 1:10 teacher, Hugo Riemann, who accepted Reger as a pupil, at his organ compositions were held even in his own time a contrasting chordal trio section that returns briefly in Without an opus number, like the preceding work, the 5 13. Jesus, meine Zuversicht 1:47 first in Sondershausen and then, as his assistant, in owed much to the advocacy of Karl Straube, also a pupil of conclusion. The eighth piece, Romanze, is in A minor and Introduction and Passacaglia in D minor was first published 6 14. Liebster Jesu, wir sind hier 1:53 Wiesbaden. Military service, which affected Reger’s health Riemann and from 1902 organist at the Thomaskirche in in a gentle 6/8. in 1900 in an album for the benefit of a new organ for 7 15. Lobe den Herren, den mächtigen König der Ehren 1:04 and spirits, was followed by a period at home with his Leipzig. The Dreißig kleine Choral-Vorspiele zu den gebräuch- Schönberg im Taunus. He pointed out in a letter to the 8 16. Macht hoch die Tür 1:16 parents in Weiden and a continuing series of compositions, The monumental Chorale Fantasia on ‘Ein feste Burg ist lichsten Chorälen (Thirty Little Chorale Preludes on the editor of the collection, Ludwig Sauer, that he had Twelve Pieces, Op. 80, No. 8 in particular for the organ, including a monumental series unser Gott’, Op. 27, was written in 1898 and dedicated to most common chorales), Op. 135a, were published in 1914 deliberately kept the work simple, so that, as he said, a 9 Romanze in A minor 4:29 of chorale fantasias and other compositions, often, it seems, Karl Straube, presenting an obvious challenge. With the and dedicated to Hans von Ohlendorff. They serve a prac- reasonably well trained organist should be able to play the Thirty Little Chorale Preludes, Op. 135a, Nos. 17–23 designed to challenge the technique of his friend Karl direction Allegro vivace (ma pomposo), it starts with a tical purpose and make relatively few demands on a Passacaglia at sight. It is true that the work avoids the 0 17. Meinen Jesum lass ich nicht 1:55 Straube, a noted performer of Reger’s organ music. passage for the pedals, before the chorale is introduced in performer, but still preserve Reger’s particular characteristic heavy demands and complex textures of such compositions ! 18. Nun danket alle Gott 1:11 In 1901 Reger moved to Munich, where he spent the the left hand, with the busy pedal part below and a similar of modulation and chromaticism, here within technical as the Chorale Fantasia with which the present recording @ 19. O dass ich tausend Zungen hätte 1:08 next six years. His position in musical life was in some texture for the right hand above. This is in D major, but the limits. opens, and for this reason is heard more frequently than # 20. O Gott, du frommer Gott 2:09 ways an uneasy one, since he was seen as a champion of passage ends with a grandiose homophonic setting of the Reger’s Romanze in A minor, appeared in 1904. It is might otherwise have been the case. The solemn intro- $ 21. O Haupt voll Blut und Wunden (Herzlich tut mich verlangen) 3:43 absolute music and as hostile, at this time, to programme words Er hilft uns frei aus aller Not, the third line of Martin published among works without opus number and was duction is followed by the Passacaglia bass, on the pedals, % 22. O Welt, ich muss dich lassen 1:20 music and to the legacy of Wagner and Liszt. He was suc- Luther’s hymn, in the key of B flat. The chorale continues originally intended for harmonium, but later adapted for above which the manuals offer succeeding variations. ^ 23. Valet will ich dir geben 1:03 cessful, however, as a pianist and was gradually able to find in D major with the fifth and sixth lines, Der alt böse Feind the organ. Marked Andante con moto it is in 6/8, with dotted an audience for his music. The period in Munich brought / mit Ernst er’s jetzt meint, capped again by the massive B figuration, its gentle lilt leading to textures of greater Keith Anderson & Romanze in A minor (1904) 4:12 the composition of his Sinfonietta, of chamber music, and flat version of the following words. The first verse of the Thirty Little Chorale Preludes, Op. 135a, Nos. 24–30 of fine sets of keyboard variations on themes by Bach and chorale continues in the same way. The second verse, Mit * 24. Vom Himmel hoch, da komm ich her 1:05 Beethoven, followed in later years by his well-known unsrer macht ist nichts getan, starts quietly, with the melody Martin Welzel ( 25. Wachet auf, ruft uns die Stimme 1:20 variations on a theme by Mozart. in the pedals, but still in the tenor register, with the busy Born in 1972, Martin Welzel received his musical training in Bremen from Michael ) 27. Was mein Gott will, das g’scheh allzeit 1:07 1907 brought a change in Reger’s life, when he took the texture of the manuals heard above and below. Each section, Landsky, Wilfried Langosz, and Käte van Tricht. He later studied with Daniel Roth, ¡ 28. Wer nur den lieben Gott lässt walten 1:08 position of professor of composition at the University of in D major, is followed by a chordal B flat major version. Wolfgang Rübsam, and Gerald Hambitzer at the Hochschule für Musik Saar in ™ 29. Wie schön leucht’t uns der Morgenstern 2:14 Leipzig, at a time when his music was reaching a much The third verse, marked Allegro moderato, offers textures Saarbrücken, where he earned Bachelor and Master of Music degrees in sacred music, £ 30. Wunderbarer König 1:04 wider public. This was supported by his own distinction of bewildering complexity, to the words Und wenn die Welt as well as a Master’s Degree and Artist Diploma in organ performance, both with ¢ 26. Was Gott tut, das ist wohlgetan 1:18 as a performer and concert appearances in London, St voll Teufel wär (And were this world all devils o’er), the highest honours. He holds a DMA degree from the University of Washington in Prelude and Fugue in F sharp minor (1912) Petersburg, The Netherlands, and Austria, and throughout tenor melody now played by the right foot, with a left-foot Seattle, where he studied with Carole Terry. As a concert artist Martin Welzel has ∞ Prelude 3:14 Germany. In 1911 he was invited by the Duke of Saxe- pedal quaver foundation to the elaborate chords of the performed extensively throughout Europe and the United States. Engagements have § Fugue 3:09 Meiningen to become conductor of the court orchestra, an manuals, before the melody is given out in octaves by the included performances at Washington National Cathedral, Meyerson Symphony Center ensemble established by Hans von Bülow and once con- right hand, while left hand and pedals provide a busy in Dallas, Stanford University, and St Sulpice in Paris. His large repertoire spans from ¶ Introduction and Passacaglia in D minor (1899) 7:55 ducted by Richard Strauss, at the outset of his career. Reger counterpoint. The last verse of the chorale starts with the early music to works by contemporary composers. Special areas of interest include the held this position until the beginning of the war, when the melody played by the right hand, before moving to octaves music of Jeanne Demessieux and Max Reger. In 2004 Martin Welzel and his wife, orchestra was disbanded, an event that coincided with his in the left and to the right hand again. The pedals take up Alexandra Kertz-Welzel, formed the Emerald City Duo, exploring the repertoire of own earlier intention to resign. He spent his final years based the chorale, of which the opening phrase is heard in various Photo by Alexandra Kertz-Welzel the nineteenth and twentieth century for organ and piano (www.emeraldcityduo.com). 2 8.570455 3 8.570455 4 8.570455 570455bk Reger8 US:557541bk Kelemen 3+3 16/3/08 9:45 PM Page 2

Max Reger (1873–1916) Max Reger owed his earlier interest in music to the example in Jena, but continuing his active career as a composer and voices, as the textures become predominantly chordal. The complexity at the centre of the work. Organ Works Vol. 8 and enthusiasm of his father, a schoolmaster and amateur as a concert performer. He died in Leipzig in May 1916 on final Maestoso statement, das Reich muss uns doch bleiben The Prelude and Fugue in F sharp minor of 1912, musician, and his early training to the town organist of his way back from a concert tour of The Netherlands. (The city of God remaineth) is followed by a short dedicated to Reger’s friend Hans von Ohlendorff, is a 1 Chorale Fantasia on ‘Ein feste Burg ist unser Gott’, Op. 27 16:11 Weiden, Adalbert Lindner. Reger was born in 1873 at The music of Max Reger has a special position in organ pianissimo shift to F major, before the final D major reworking of two piano pieces from Aus meinem Tagebuch. Twelve Pieces, Op. 80, No. 7 Brand in the Upper Palatinate, Bavaria. The following year repertoire, and he is regarded by many as the greatest proclamation of faith. Relatively straightforward, but with characteristic modula- 2 Scherzo in F sharp minor 5:14 the family moved to Weiden and it was there that he spent German composer of organ music since Bach. A Catholic The Twelve Pieces, Op. 80, are dated 1902 and 1904 and tions and chromatic elements, the Prelude leads to a four- his childhood and adolescence, embarking on a course of himself, he nevertheless drew on Lutheran tradition and the dedicated to the Breslau organist Otto Burkert. The seventh voice fugue in which the subject is heard in the tenor, Thirty Little Chorale Preludes, Op. 135a, Nos. 11–16 training as a teacher when he left school. Lindner had sent rich store of chorales, the inspiration for chorale preludes, piece, Scherzo, is in F sharp minor, with the rapid modu- answered in the alto and then the soprano, with the final 3 11. Herr Jesu Christ, dich zu uns wend 1:03 examples of Reger’s early compositions to his own former chorale fantasias and other works. The esteem in which lations that are a general feature of Reger’s work. There is bass entry in the pedals. 4 12. Jerusalem, du hochgebaute Stadt 1:10 teacher, Hugo Riemann, who accepted Reger as a pupil, at his organ compositions were held even in his own time a contrasting chordal trio section that returns briefly in Without an opus number, like the preceding work, the 5 13. Jesus, meine Zuversicht 1:47 first in Sondershausen and then, as his assistant, in owed much to the advocacy of Karl Straube, also a pupil of conclusion. The eighth piece, Romanze, is in A minor and Introduction and Passacaglia in D minor was first published 6 14. Liebster Jesu, wir sind hier 1:53 Wiesbaden. Military service, which affected Reger’s health Riemann and from 1902 organist at the Thomaskirche in in a gentle 6/8. in 1900 in an album for the benefit of a new organ for 7 15. Lobe den Herren, den mächtigen König der Ehren 1:04 and spirits, was followed by a period at home with his Leipzig. The Dreißig kleine Choral-Vorspiele zu den gebräuch- Schönberg im Taunus. He pointed out in a letter to the 8 16. Macht hoch die Tür 1:16 parents in Weiden and a continuing series of compositions, The monumental Chorale Fantasia on ‘Ein feste Burg ist lichsten Chorälen (Thirty Little Chorale Preludes on the editor of the collection, Ludwig Sauer, that he had Twelve Pieces, Op. 80, No. 8 in particular for the organ, including a monumental series unser Gott’, Op. 27, was written in 1898 and dedicated to most common chorales), Op. 135a, were published in 1914 deliberately kept the work simple, so that, as he said, a 9 Romanze in A minor 4:29 of chorale fantasias and other compositions, often, it seems, Karl Straube, presenting an obvious challenge. With the and dedicated to Hans von Ohlendorff. They serve a prac- reasonably well trained organist should be able to play the Thirty Little Chorale Preludes, Op. 135a, Nos. 17–23 designed to challenge the technique of his friend Karl direction Allegro vivace (ma pomposo), it starts with a tical purpose and make relatively few demands on a Passacaglia at sight. It is true that the work avoids the 0 17. Meinen Jesum lass ich nicht 1:55 Straube, a noted performer of Reger’s organ music. passage for the pedals, before the chorale is introduced in performer, but still preserve Reger’s particular characteristic heavy demands and complex textures of such compositions ! 18. Nun danket alle Gott 1:11 In 1901 Reger moved to Munich, where he spent the the left hand, with the busy pedal part below and a similar of modulation and chromaticism, here within technical as the Chorale Fantasia with which the present recording @ 19. O dass ich tausend Zungen hätte 1:08 next six years. His position in musical life was in some texture for the right hand above. This is in D major, but the limits. opens, and for this reason is heard more frequently than # 20. O Gott, du frommer Gott 2:09 ways an uneasy one, since he was seen as a champion of passage ends with a grandiose homophonic setting of the Reger’s Romanze in A minor, appeared in 1904. It is might otherwise have been the case. The solemn intro- $ 21. O Haupt voll Blut und Wunden (Herzlich tut mich verlangen) 3:43 absolute music and as hostile, at this time, to programme words Er hilft uns frei aus aller Not, the third line of Martin published among works without opus number and was duction is followed by the Passacaglia bass, on the pedals, % 22. O Welt, ich muss dich lassen 1:20 music and to the legacy of Wagner and Liszt. He was suc- Luther’s hymn, in the key of B flat. The chorale continues originally intended for harmonium, but later adapted for above which the manuals offer succeeding variations. ^ 23. Valet will ich dir geben 1:03 cessful, however, as a pianist and was gradually able to find in D major with the fifth and sixth lines, Der alt böse Feind the organ. Marked Andante con moto it is in 6/8, with dotted an audience for his music. The period in Munich brought / mit Ernst er’s jetzt meint, capped again by the massive B figuration, its gentle lilt leading to textures of greater Keith Anderson & Romanze in A minor (1904) 4:12 the composition of his Sinfonietta, of chamber music, and flat version of the following words. The first verse of the Thirty Little Chorale Preludes, Op. 135a, Nos. 24–30 of fine sets of keyboard variations on themes by Bach and chorale continues in the same way. The second verse, Mit * 24. Vom Himmel hoch, da komm ich her 1:05 Beethoven, followed in later years by his well-known unsrer macht ist nichts getan, starts quietly, with the melody Martin Welzel ( 25. Wachet auf, ruft uns die Stimme 1:20 variations on a theme by Mozart. in the pedals, but still in the tenor register, with the busy Born in 1972, Martin Welzel received his musical training in Bremen from Michael ) 27. Was mein Gott will, das g’scheh allzeit 1:07 1907 brought a change in Reger’s life, when he took the texture of the manuals heard above and below. Each section, Landsky, Wilfried Langosz, and Käte van Tricht. He later studied with Daniel Roth, ¡ 28. Wer nur den lieben Gott lässt walten 1:08 position of professor of composition at the University of in D major, is followed by a chordal B flat major version. Wolfgang Rübsam, and Gerald Hambitzer at the Hochschule für Musik Saar in ™ 29. Wie schön leucht’t uns der Morgenstern 2:14 Leipzig, at a time when his music was reaching a much The third verse, marked Allegro moderato, offers textures Saarbrücken, where he earned Bachelor and Master of Music degrees in sacred music, £ 30. Wunderbarer König 1:04 wider public. This was supported by his own distinction of bewildering complexity, to the words Und wenn die Welt as well as a Master’s Degree and Artist Diploma in organ performance, both with ¢ 26. Was Gott tut, das ist wohlgetan 1:18 as a performer and concert appearances in London, St voll Teufel wär (And were this world all devils o’er), the highest honours. He holds a DMA degree from the University of Washington in Prelude and Fugue in F sharp minor (1912) Petersburg, The Netherlands, and Austria, and throughout tenor melody now played by the right foot, with a left-foot Seattle, where he studied with Carole Terry. As a concert artist Martin Welzel has ∞ Prelude 3:14 Germany. In 1911 he was invited by the Duke of Saxe- pedal quaver foundation to the elaborate chords of the performed extensively throughout Europe and the United States. Engagements have § Fugue 3:09 Meiningen to become conductor of the court orchestra, an manuals, before the melody is given out in octaves by the included performances at Washington National Cathedral, Meyerson Symphony Center ensemble established by Hans von Bülow and once con- right hand, while left hand and pedals provide a busy in Dallas, Stanford University, and St Sulpice in Paris. His large repertoire spans from ¶ Introduction and Passacaglia in D minor (1899) 7:55 ducted by Richard Strauss, at the outset of his career. Reger counterpoint. The last verse of the chorale starts with the early music to works by contemporary composers. Special areas of interest include the held this position until the beginning of the war, when the melody played by the right hand, before moving to octaves music of Jeanne Demessieux and Max Reger. In 2004 Martin Welzel and his wife, orchestra was disbanded, an event that coincided with his in the left and to the right hand again. The pedals take up Alexandra Kertz-Welzel, formed the Emerald City Duo, exploring the repertoire of own earlier intention to resign. He spent his final years based the chorale, of which the opening phrase is heard in various Photo by Alexandra Kertz-Welzel the nineteenth and twentieth century for organ and piano (www.emeraldcityduo.com). 2 8.570455 3 8.570455 4 8.570455 570455bk Reger8 US:557541bk Kelemen 3+3 16/3/08 9:45 PM Page 1

The Johannes Klais Organ, Trier Cathedral, Germany (1974)

Hauptwerk 2, Manual C – c’’’’’’ Larigot 1 1/3’ Unda maris 8’ Praestant 16’ Sesquialter 2fach Octave 4’ Principal 8’ Scharf 4fach Flute octaviante 4’ Also available Hohlflöte 8’ Glockencymbel 2fach Salicional 4’ Gemshorn 8’ Dulzian 16’ Flageolett 2’ Quinte 5 1/3’ Cromorne 8’ Fourniture 6fach Octave 4’ Cor anglais 16’ REGER Nachthorn 4’ Brustwerk 3. Manual (schwellbar) Trompete 8’ Terz 3 1/5’ C – c’’’’ Clairon 4’ Quinte 2 2/3’ Rohrflöte 8’ Superoctave 2’ Praestant 4’ Pedal C –g’ Chorale Fantasia Cornett 5fach Blockflöte 4’ Untersatz 32’ Mixtur 5fach Nasard 2 2/3’ Principal 16’ on ‘Ein feste Burg Cymbel 3fach Doublette 2’ Subbass 16’ Trompete 16’ Terz 1 3/5’ Octave 8’ Trompete 8’ Sifflet 1’ Spielpfeife 8’ ist unser Gott’, Trompete 4’ Acuta 4fach Superoctave 4’ Oberton 3fach Flöte 4’ Op. 27 Rückspositiv 1. Manual C – c’’’’ Hautbois 8’ Hintersatz 5fach 8.554207 8.555905 Praestant 8’ Vox Humana 8’ Aliquotbass 4fach Quintade 8’ Piffaro 2fach Gedackt 8’ Schwellwerk 4. Manual C- c’’’’ Bombarde 32’ Little Chorale Principal 4’ Bordun 16’ Posaune 16’ Rohrflöte 4’ Principal 8’ Trompete 8’ Preludes, Op. 135a, Octave 2’ Lochgedackt 8’ Schalmey 4’ Waldflöte 2’ Gamba 8’ Get this free download from Classicsonline! Nos. 11–30 Koppeln: RP-HW, BW-HW, SW-HW, BW-RP, SW-RP, SW-BW, RP-P, HW-P, BW-P, SW-P Rheinberger: Organ Sonata No. 6 ‘Fuga’ Tremulanten: RP, BW, SW, PED Copy this Promotion Code NaxhD4Y9o1Sj and go to http://www.classicsonline.com/mpkey/rhein_main. Röhrenglocken: (HW) Windauslass-Ventile: HW, SW Downloading Instructions C Tastenarretierung: HW 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at 1920 elektronische Setzerkombinationen, Registercrescendo (Walze) http://www.classicsonline.com/UserLogIn/SignUp.aspx. Martin Welzel M Spieltraktur mechanisch, Registertraktur elektrisch Betätigung der beiden Schweller mechanisch. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Johannes Klais Organ, Trier Cathedral Y K 5 8.570455 6 8.570455 570455bk Reger8 US:557541bk Kelemen 3+3 16/3/08 9:45 PM Page 1

The Johannes Klais Organ, Trier Cathedral, Germany (1974)

Hauptwerk 2, Manual C – c’’’’’’ Larigot 1 1/3’ Unda maris 8’ Praestant 16’ Sesquialter 2fach Octave 4’ Principal 8’ Scharf 4fach Flute octaviante 4’ Also available Hohlflöte 8’ Glockencymbel 2fach Salicional 4’ Gemshorn 8’ Dulzian 16’ Flageolett 2’ Quinte 5 1/3’ Cromorne 8’ Fourniture 6fach Octave 4’ Cor anglais 16’ REGER Nachthorn 4’ Brustwerk 3. Manual (schwellbar) Trompete 8’ Terz 3 1/5’ C – c’’’’ Clairon 4’ Quinte 2 2/3’ Rohrflöte 8’ Superoctave 2’ Praestant 4’ Pedal C –g’ Chorale Fantasia Cornett 5fach Blockflöte 4’ Untersatz 32’ Mixtur 5fach Nasard 2 2/3’ Principal 16’ on ‘Ein feste Burg Cymbel 3fach Doublette 2’ Subbass 16’ Trompete 16’ Terz 1 3/5’ Octave 8’ Trompete 8’ Sifflet 1’ Spielpfeife 8’ ist unser Gott’, Trompete 4’ Acuta 4fach Superoctave 4’ Oberton 3fach Flöte 4’ Op. 27 Rückspositiv 1. Manual C – c’’’’ Hautbois 8’ Hintersatz 5fach 8.554207 8.555905 Praestant 8’ Vox Humana 8’ Aliquotbass 4fach Quintade 8’ Piffaro 2fach Gedackt 8’ Schwellwerk 4. Manual C- c’’’’ Bombarde 32’ Little Chorale Principal 4’ Bordun 16’ Posaune 16’ Rohrflöte 4’ Principal 8’ Trompete 8’ Preludes, Op. 135a, Octave 2’ Lochgedackt 8’ Schalmey 4’ Waldflöte 2’ Gamba 8’ Get this free download from Classicsonline! Nos. 11–30 Koppeln: RP-HW, BW-HW, SW-HW, BW-RP, SW-RP, SW-BW, RP-P, HW-P, BW-P, SW-P Rheinberger: Organ Sonata No. 6 ‘Fuga’ Tremulanten: RP, BW, SW, PED Copy this Promotion Code NaxhD4Y9o1Sj and go to http://www.classicsonline.com/mpkey/rhein_main. Röhrenglocken: (HW) Windauslass-Ventile: HW, SW Downloading Instructions C Tastenarretierung: HW 1 Log on to Classicsonline. If you do not have a Classicsonline account yet, please register at 1920 elektronische Setzerkombinationen, Registercrescendo (Walze) http://www.classicsonline.com/UserLogIn/SignUp.aspx. Martin Welzel M Spieltraktur mechanisch, Registertraktur elektrisch Betätigung der beiden Schweller mechanisch. 2 Enter the Promotion Code mentioned above. 3 On the next screen, click on “Add to My Downloads”. Johannes Klais Organ, Trier Cathedral Y K 5 8.570455 6 8.570455 NAXOS NAXOS Max Reger is regarded by many as the greatest German composer of organ music since Bach. The eighth volume of his organ works (earlier releases are available on Naxos 8.553926, 8.553927, 8.554207, 8.555905, 8.557186, 8.557338 and 8.557891) includes the monumental and demanding Chorale Fantasia on ‘Ein feste Burg’ and 8.570455

REGER: the popular Introduction and Passacaglia in D minor. REGER: DDD

Max Playing Time REGER 75:38

Organ Works • 8 (1873–1916) Organ Works • 8 Organ Works Volume 8 1 Chorale Fantasia on ‘Ein feste Burg ist unser Gott’, Op. 27 16:11 2 Twelve Pieces, Op. 80: No. 7 Scherzo in F sharp minor 5:14 3-8 Thirty Little Chorale Preludes, Op. 135a: Nos. 11–16 8:15 9 Twelve Pieces, Op. 80: No. 8 Romanze in A minor 4:29 0 ^ www.naxos.com Printed & Assembled in USA Disc Made in Canada Booklet notes in English ൿ - Thirty Little Chorale Preludes, Op. 135a: Nos. 17–23 12:26 Ltd. Naxos Rights International

& Romanze in A minor (1904) 4:12 & *-¢ Thirty Little Chorale Preludes, Op. 135a: Nos. 24–30 9:16 Ꭿ 2008 ∞-§ Prelude and Fugue in F sharp minor (1912) 6:33 ¶ Introduction and Passacaglia in D minor (1899) 7:55 Full track details will be found on page 2 of the booklet

Martin Welzel, Organ C Johannes Klais Organ, Trier Cathedral M 8.570455 Includes Free Downloadable Bonus Track (Rheinberger: Organ Sonata No. 6 ‘Fuga’) 8.570455 available at www.classicsonline.com. Please see booklet for full details. Y Recorded in Trier Cathedral, Germany, 24–25 October 2007 • Producer: Wolfgang Rübsam Recorded & edited by RMC Classical, Music Inc. USA • Organ built by Johannes Klais Booklet notes: Keith Anderson • Cover photo: Johannes Klais Organ, Trier Cathedral (Gregor Peda, Passau) K