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Max Reger 1873–1916 Inhalt · Contents Max Reger 1873–1916 Inhalt · Contents Lieder · Songs 3 Werkausgabe · Edition of works Hybrid-Edition Geistliche Chormusik · Sacred choral music 5 Weltliche Chormusik · Secular choral music 9 Seit Januar 2008 entsteht im Max- Instrumentalmusik · Instrumental music 10 Reger-Institut in Karlsruhe eine wissen- Werkausgabe · Edition of works 11 schaftlich-kritische Ausgabe von Werken Publikationen des Max-Reger-Instituts Regers, die in der Anlage als Hybrid- Publications of the Max-Reger-Institut 13 Edition neue Wege der Edi tionstechnik Faksimiles, Postkarten · Facsimiles, postcards 15 beschreitet. Siehe S. 11 Abkürzungen · abbreviations 15 Compact Discs 16 In January 2008 the Max-Reger-Institut, located in Karlsruhe, Germany, initiated the first ever scholarly critical edition of Titelabbildung · Cover: works by Max Reger. With its design as Max Reger (Photo: Fr. Nölken, 1913) a hybrid edition it breaks new ground in editorial techniques. see p. 11 Max-Reger-Institut, Karlsruhe (Postkarte · postcard, Carus 40.385/20) von Agostino Raff Carus 40.385/10 postcard „Die Werkausgabe bietet avancierte musikwissenschaftliche Editions- Ausschnitt eines Triptychons Postkarte · technik und stellt zudem eine Preisänderung, Irrtum und Liefermöglichkeit editorische Pioniertat dar.“ vorbehalten. · Prices are subject to change. organ 1/2011 Errors excepted. „Hier liegt eine geradezu fulminante Carus-Verlag Stuttgart GmbH & Co. KG Herausgeberleistung vor, die eine Sielminger Straße 51 sehr schöne, große Regerarbeit, eine D-70771 Leinfelden-Echterdingen fabelhafte neue Reihe, ankündigt. Telefon +49 (0)711-797 330-0 Der Notensatz ist ungewöhnlich gut Fax +49 (0)711-797 330-29 lesbar, was gerade bei Reger wichtig e-mail: [email protected] ist.“ www.carus-verlag.com Die Musikforschung, 4/2014 Carus 99.024/30 11/2015 Lieder · Songs 3 Lieder · Songs – Blick in die Lieder (dt) / Singstimme, Pfte Regers Lieblingslieder, aus gewählt und hrsg. von Susanne Popp (1996). Bibliophil ausgestattete Sammlung mit Reproduktionen, originalen Titelblättern und Farbfaksimiles (192 S.). Inhalt, siehe S. 4 Reger’s favorite Lieder, selected and edited by Susanne Popp (1996). This is a collection designed for book lovers, with reproductions, original title pages and facsimiles in color (192 p.) Content, see p. 4 40.777 32.50 € „Wohl selten hat ein engagierter Verlag eine “It is indeed rare that a dedicated publisher pre- solch prachtvolle, wohlgestaltete und gelungene sents such a magnificent, well-designed and suc- Notenausgabe eines Teilbereichs des Werkes cessful edition of works which treat one aspect of eines Komponisten vorgelegt. Denn leider sind the creative output of a composer. For unfortu- weite Teile des Œuvre Max Regers, wenn man nately, apart from individual choral works and a von vereinzelten Chorwerken und einem grö- large amount of his organ music, a large portion ßeren Teil der Orgelwerke absieht, kaum mehr of the works of Max Reger are hardly known any bekannt und im musikalischen (Konzert-)leben more and in musical life and in concerts this music nicht mehr präsent. Dies gilt auch für den über is no longer played. This is also true of the more 300 Lieder umfassenden Teil seines komposito- than 300 Lieder, which form an extensive part rischen Werkes. Nun hat Susanne Popp (Max- of his œuvre. Now Susanne Popp (Max Reger- Reger-Institut Karlsruhe) in überzeugender Weise Institut Karlsruhe) has presented, in convincing einen Band mit 46 Reger-Liedern vorgelegt, die fash ion, a volume with 46 of Reger‘s Lieder which einen Blick in diesen Schaffensbereich Regers er- offer a glimpse into this creative side of Reger … möglichen ... From a graphic and formal point of view, at pres- Graphisch und gestalterisch kenne ich z. Zt. kei- ent I know of no more beautiful edition! For in ne schönere Notenausgabe! Denn in die Zusam- this compilation facsimiles of Reger‘s wonderful menstellung der Lieder eingestreut sind immer calligraphic fair copies, with his typical use of two wieder Faksimiles der herrlichen kalligraphischen colors (black for notes, red for the many indica- Reinschrift Max Regers mit ihrer typischen Zwei- tions for performance), are continually intersper- farbigkeit (schwarz für die Noten, rot für die vie- sed be tween the Lieder. … One must look more len Angaben zur Ausführung). ... Man muss hier than once in order to discover the beauty and selber mehr als einen Blick tun, um die Schönheit rich es of this edition, which will hopefully lead to und den Reichtum dieser Ausgabe zu entdecken, a renaissance of Max Reger’s Lieder.” die hoffentlich zu einer Renaissance der Lieder Max Regers führen wird.“ Württembergische Blätter für Kirchenmusik 2/97 4 Chormusik · Choral music Blick in die Lieder – Inhalt · Contents Chormusik · Choral music op. 31,3 Unbegehrt Max Regers Chorschaffen begann in Weiden, als op. 31,5 Mein Traum er Mitte 1898 vorüber gehend in sein Elternhaus op. 35,3 Traum durch die Dämmerung zurückkehrte. Den Anstoß hierzu gab Regers op. 35,4 Flieder op. 37,2 Volkslied Freund und früherer Lehrer Adalbert Lindner mit op. 37,3 Glückes genug der Aufforderung, für den Weidener Liederkranz op. 37,4 Frauenhaar zu schreiben. So entstanden die ersten Volkslie- op. 43,3 Meinem Kinde derbearbeitungen für Män ner chor a cappella, es op. 43,5 Wiegenlied folgten die Sieben Männerchöre op. 38, mit denen op. 48,2 Leise Lieder Reger seine Beschäf tigung mit dieser Besetzung op. 48,6 Am Dorfsee op. 51,3 Träume, träume, du mein süßes Leben! auch vorläufig abschloss. Kaum später begann op. 51,6 Schmied Schmerz eine umfangreiche Produktion für gemischten op. 51,7 Nachtgang Chor – Reger komponierte zwei Sammlungen mit op. 55,1 Hymnus des Hasses Volksliedsätzen sowie Drei sechsstimmige Chöre op. 55,4 Rosen op. 39 –, um sich anschließend der geistlichen op. 55,8 Zwei Gänse Musik zuzuwenden. Obwohl Reger sich selbst als op. 55,11 Viola d’ amour op. 62,2 Waldseligkeit „katholisch bis in die Fingerspitzen“ bezeichnete, op. 62,11 Fromm lernte der in der Oberpfalz aufgewachsene Ka- op. 62,14 Ich schwebe tholik im Lauf der Zeit die Qualität der protestan- op. 66,1 Sehnsucht tischen Choräle zu schätzen: „Die Protestanten op. 66,2 Freundliche Vision wissen nicht, was sie an ihrem Chorale haben!“ op. 66,10 Morgen op. 66,12 Kindergeschichte Schon in jungen Jahren war Reger mit dem Choral op. 68,2 Unterwegs in engen Kontakt gekommen – als Suborganist der op. 70,4 Die bunten Kühe Weidener Pfarrkirche St. Michael, die von beiden op. 70,17 Sommernacht Konfessionen genutzt wurde. Die Freundschaft zu op. 75,6 Ihr, ihr Herrlichen! dem – protestantischen – Organisten Karl Straube op. 75,9 All’ mein Gedanken, mein Herz muss in der Folgezeit als von herausragender Be- op. 75,11 Aeolsharfe op. 75,12 Hat gesagt – bleibt’s nicht dabei deutung bezeichnet werden, und als Reger 1902 op. 76,1 Du meines Herzens Krönelein die geschiedene Protestantin Elsa von Bercken op. 76,3 Waldeinsamkeit geb. von Bagenski heiratete, war der Bruch mit der op. 76,16 Glück katholischen Kirche auch nominell vollzogen. Ins- op. 76,22 Des Kindes Gebet besondere durch den Einfluss Straubes schuf Reger op. 76,35 Mittag vor allem in seinen Weidener Jahren bis 1901, aber op. 76,52 Mariä Wiegenlied op. 79 c, Heft 3,1 Die Glocke des Glücks auch noch anschließend in München zahlreiche op. 88,3 Flöten spielerin Werke für protestantischen kirchenmusikalischen op. 97,1 Das Dorf Gebrauch. Hierzu gehörten vor allem Choralvor- op. 97,3 Ein Drängen spiele, zahlreiche Choralsätze sowie die „geist- op. 98,1 Aus den Himmelsaugen lichen Gesänge“ – da die Chorsätze zunächst op. 104,1 Neue Fülle moderat im Umfang geblieben waren, nannte op. 104,4 Lied eines Mädchens op. 142,3 Maria am Rosenstrauch Reger sie allenthalben „geistliche Gesänge”. Im Jahr 1909 scheint Reger sich dann intensiv mit umfänglicheren A-cappella-Chorsätzen befasst zu haben. Sein Interesse hierfür war gestärkt worden durch die lebendige Tradition, die er an der Leip- ziger Thomaskirche vorfand und die in der jeden Samstagnachmittag stattfindenden „Motette“ Geistliche Chormusik · Sacred choral music 5 vollste Ausprägung fand. Diese Veranstaltungs- Geistliche Chormusik reihe war benannt nach der im Mittelpunkt der Sacred choral music Programme stehenden Musikgattung, und wie- der einmal müssen auch hier die Kompositionen J. S. Bachs als wichtiges Vorbild Regers gelten. Frauenchor · Women’s choir Reger’s writing for choirs really began in Weiden. – Drei Choralbearbeitungen · Three chorale A first, unsuccessful chorus for men’s voices com- arrangements op. 79g (dt/en) Coro SSA posed for the local choral society was followed in 1. Lobt Gott, ihr Christen alle gleich 1898/99 by sixteen folk songs, an occasional work Praise God, O Christians ev‘rywhere for choir with orchestra, and Sieben Männerchöre 2. Nun laßt uns gehn und treten op. 38. Soon afterwards he composed a large Now let us all be going number of works for mixed choir. His first efforts 3. Danksaget dem Vater · Thanks give to the Father for mixed choir were followed by two collections 50.414/10 Slg ± 1.60 € of folksong settings, as well as Drei sechsstimmi- ge Chöre op. 39. Then he turned to sacred music, some of it for liturgical use: Zwölf deutsche geist- Gemischter Chor · Mixed choir liche Gesänge, Sieben geistliche Volkslieder, and in particular Der evangelische Kirchenchor are Sammlungen · Collections the most important of these collections. Max Re- ger grew up as a Catholic in the Upper Palatinate – Acht geistliche Gesänge · Eight sacred and described himself as “Catholic to his finger- songs op. 138 (dt/en) Coro 4- bis 8stg tips.” By 1907, when he was appointed profes- for 4–8 parts sor of composition at Leipzig Conservatory, he 50.408 Slg ± 9.80 € had become aware of the quality of the corpus of Protestant chorales. Adalbert Lindner reported Einzelausgaben · Separate editions: Reger’s remark of 1898; “the Protestants don’t 1. Der Mensch lebt und bestehet · A man can live know what they have, with their chorales!” Re- and flourish (dt/en) Coro SATB/SATB ger had already come into close contact with the 50.408/10 ±1.50 € chorale at an early age.
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