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Reger8 US:557541Bk Kelemen 3+3 16/3/08 9:45 PM Page 1 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 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.
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