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Fiscllers Reger THE DIAPASON AN lNTERNATIONAL MONTHLY DEVOTED TO THE ORGAN AND THE lNTERESTS OF ORGAN1ST~ SixtY'lourth Year, No.4 - Wllole No. 760 MARCH,1973 --------------------______________________________J- ___ Subscriptions $4.00 a year - 40 ce'lls a coP1 March 19th marks the 100th annivcr· is the best known, but in its highly de­ sary of the birth of Max Reger. For a \eloped chromaticism the Trauerode time little known in this couOlry. Reger (opus 145:1) is perhaps the most strik­ and his music today arc interesting an ing. increasingly larger number of organists. Reger's non· chorale-based composi. While Europe. or at least Germany. has REGER tion falls into traditional 19·century always been aware of the composer and fonns which had been used by such his works, organists in this country have composers for organ as Lint, Reubke, been for the most part ignorant of all and Rheinbcrger_ The Fantasy and hut a few of his compositions. This un· Fugue on BACH (opus 46), written in familiarity seems to be mainly the reo 1900, seems to have been perfonned suit of the great technical difficulty and the more than any other of his composi­ which characterizes most of his music. tions during the composer's lifetime, With the exception of but a few compo­ and Reger's letters indicate that he him­ sitions which are widely played and the self considered it one of his most sig­ few recordings generally available in nificant creations. The next major work this country. an aCCuTille impression of was the Symphonic Fantasy and Fugue his works cannot he gained without ORGAN (opus 57), composed in 1901 and in­ painstaking effort on the part of the spired by Dante's ItJlerno., Later in performer to learn to play the compo­ the same year Reger wrote the Second sitions himself, and all too often as a By Philip Prince Sonata (opus 60), Unlike his First So­ result of changing lasle in music and nata (opus 33), its first movement organs, supporled by the still ncgalive is actually in a free sonata-allegro form e\'alualion of conlemporary criticism. he and is considered by many to be one f£'C1s Ihe effort 10 be unjusliried. A fur­ of the few successful sonata movements ther deterrent lies in the prevalent mis­ for the organ. The third movement, an conceptions about Reger's style of com­ "Introduction and Fugue," is in the posilion, performance practice of his same tonality as the first movement day and the organ for which he wrote. and scems motivically related, providing as well as cerlain aspects of the printed a cenain unity to the sonata as a whole. scores themselves. It is hoped that the One of the most successful larger com­ following will contribute to a greater positions Re~er wrote for the organ understanding of Reger and his organ is the J'ar;altons and Fflglle on an Or­ works today. ig;Flal Theme (opus 73). composed in 1903_ It consists of an extended intro­ THE ORGAN WORKS duction of seven pages, theme, 13 vari­ ations, and Cugue. Reger wrote to Karl Rl'ger's some 230 organ compositions Straube, to whom the riece was ded­ range from the miniature chorale prel­ icated, "The work itsel was born of udes of opus 13501, of but a few meas­ a very sad mood; the theme says ev­ ures cadi, to the r'tlr;atiorlS and Fugue erything in its resignation; the melan. 011 an Original Theme (opus 73) and choly third measure of the theme it­ the Introduction, Passacaglia and Fugue self plays a great role in the work,''' (opus 127), each requiring about a Stmube was so enthusiastic about it half hour (or performance. The fonns that Reger had to urge him not to play Reger Itsed were those of chorale prel­ it twice in the same concertI' While ude - of which there are over 100; there is a certain clement of extrava­ large-scale chorale fantasias - of which ganza present, as in most of Reger's tllere are 7; preludes; toccatas; fanta­ larger organ works, this composition sies; fugues; passacaglias; canons; vari­ seems to achieve a balance and struc­ ations; and other smaller fonns. Reger's tural unily not always noticeable in hil first organ composition was written in earlier longer works. The next major 1892 in the composer's 19th year. From work, the IntroductiotJ, Passacaglia and this date until 1906 composition was Fut:ue in E MitJor (opus 127). was fairly consistent, and the bulk of the wntlen in 1913 for the inaugural con­ organ works was composed between 1898 cert oC the largest organ in Gennany. the and 1905, a period of eight years. From five-manual, 200-stop Sauer in the Bres­ 1906 Reger's organ composition was spo­ lau Jahrhunderthalle, not quite ten radic, but proceeded through opus 145, years after opus 73 and after an almost which was composed in the winter of uninterrupted eight-year hiatus in or­ 1916, the year of his deatll. Probably gan composition. Perfonned by Karl the decrease in organ composition in Straube, to whom it was dedicated, the this period can be explained by the fact work is of commensurately grander that as Reger's fame and duties in­ scale and complexity than anything com­ creased he was called upon to compose posed previously. After an introduction in other areas - orchestral, chamber, of five pages a passacaglia theme of piano, \'Dcal, etc. - and especially in eight measures is taken through 26 var· those areas of performance in which he iations, and the whole is concluded by could himself take part personally. a double fugue of over 16 pages in While Reger could and did play the length. The last of Reger's major organ organ, he was primarily a pianist rather compositions, the Fantasy and Fugue in than organist; as we shall see, Reger D Minor (opus U5b) , of the year 1916, largely depended upon Karl Straube to is lIluch smaller in scale and lengtb, and perform his organ works and bring like opus 127 ends with a double fugue. them to the attention of the public. _ Reger at the Leip1ig Conservatory (1911) Attention to all the works of so pro­ The Gennan chorale played a major IiCic a composer cannot be given in a role in Reger's organ music. While he discussion such as this. but brief men­ composed a few works with titles from area, both of whom were composers of fantasies on Strar midi flicllt and Wa · tion can be made of a few of the minor the Roman Catholic Iitur~ (K'Vri~ eid­ ,najor importance to him. There are chet aul as "m}'stical." The fonner. he works. Like Bach, Reger was interested son, Gloria in excelsis, Benedictw, Ttl roughly three fonns of the chorale prel­ admits, is a "miserably difficult pieCe in the educational value of trio-playing, deum, and Ave Maria), some of which ude in Reger's work. Most of the chor· of music," but with his "tendency to­ writing that it was "absolutely neces­ quote fragments of Gregorian chant, ale preludes of opus 67, 7gb, and 13501 ward mysticism it could not have turned sary for the attainment of a completely Reger, a life-long Catholic, based over arc rclath'ely short and are constructed out well any 'easier.' '.. Parenthetical developed, virtuoso technique:" In 1900 120 works on Lutheran chomle melo­ so that the chorale melody appears in mention should here be made of the he wrote Six Tr;os lor Organ (opus 47) • dies, including some not named by the augmentation but once in the course of miniature J'ariatiotJs and Fugue on the which he thought of "chiefly as teach· titles of the works themselves. Reger is each composition. In the seven chorale English National AtJthem (without opus ing material" and hoped would be in­ reported to have remarked, "The Prot­ fantasiest the melody is set several times, no.), consisting of an introduction of a corporated into the curriculum of estants don't know what musical treas­ each setting fining a particular stanza few measures, two variations, and fugue. schools,!D And in 1903 he made an ar­ ure they possess in their choralesl''! of the chorale. All of the fantasies but While quoting a given melody. unlike rangement of Bach's Two-Part Iflven- Probably Reger's interest in the chomle the earliest. Ei,,' leste Burg ist umer Reger's chorale preludes and fantasies. 1i001S for organ, called the School 01 depended on the fact that the chorale Golt (opus 27), have illll'oductions. this work does not attempt to "illus­ Trio-play;ng, in which he composed a presented the composer a pre· composed some of considerable length. and three trate" the text. A third fonn of the new, additional middle voice for the melody which carried with it an emo­ - Wie schon kuch', um der Morgen. chorale prelude is (0 be found in the left hand. leaving for the right hand tive meaning from the text with which it slern (opus 40:1). Wacllet aul, rul' uns second movements of the First S"ite and pedal Bach's Original voices. (The was associated. Reger felt that the chor­ die Stiml1le (opus 52:2) • and Halleluja! (OPUS 16) and Second Sonata (opus 60) , organist Karl Straube supplied the fin· ale prelude should .. 'mystically' spring Gott %u loben, ble;be meine Seelen· as well as the seven pieces of opus 145. gering and pedaling.) Reger's most pop­ from the text alone,'" and his settings are Ireud'! (opus 52:3) - end with extended Though not indicated by title.
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