Max Reger (Geb
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University of Washington School of Music St. Mark's Cathedral
((J i\A~&!d C\I~ t \LqiJ }D10 I I . I'J. University of Washington School of Music in conjunction with St. Mark's Cathedral November 11-12, 2016 Dr. Carole Terry Wyatt Smith Co-Directors On behalfof the UW School of Music, I am delighted to welcome you to this very special Reger Symposium. Professor Carole Terry, working with her facuIty colleagues and students has planned an exciting program of recitals, lectures, and lively discussions that promise to illuminate the life and uniquely important music of Max Reger. I wish to thank all of those who are performing and presenting as well those who are attending and participating in other ways in our two-day Symposium. Richard Karpen Professor and Director School of Music, University ofWashington This year marks the lOOth anniversary of the death of Max Reger, a remarkable south German composer of works for organ and piano, as well as symphonic, chamber, and choral music. On November J ph we were pleased to present a group of stellar Seattle organists in a concert of well known organ works by Reger. On November 12, our Symposium includes a group of renowned scholars from the University of Washington and around the world. Dr. Christopher Anderson, Associate Professor of Sacred Music at Southern Methodist University, will present two lectures as a part of the Symposium: The first will be on modem performance practice of Reger's organ works, which will be followed later in the day with lecture highlighting selected chamber works. Dr. George Bozarth will present a lecture on some of Reger's early lieder. -
Calmus-Washington-Post Review April 2013.Pdf
to discover, nurture & promote young musicians Press: Calmus April 21, 2013 At Strathmore, Calmus Ensemble is stunning in its vocal variety, mastery By Robert Battey Last week, two of Germany’s best musical ensembles — one very large, one very small — visited our area. After the resplendence of the Dresden Staatskapelle on Tuesday at Strathmore, we were treated on Friday to an equally impressive display of precise, polished musicianship by the Calmus Ensemble, an a cappella vocal quintet from Leipzig. Founded in 1999 by students at the St. Thomas Church choir school (which used to be run by a fellow named Bach), Calmus presented a program both narrow and wide: all German works, but spanning more than four centuries of repertoire. The group held the audience at St. Paul’s Episcopal Church in Alexandria nearly spellbound with its artistry. The only possible quibble was that occasionally there was a very slight imbalance in the upper texture; Calmus has only one female member, the alto parts being taken by a countertenor who could not always match the clear projection of the soprano. But in matters of pitch, diction and musical shaping, I’ve never heard finer ensemble singing. From the lively “Italian Madrigals” of Heinrich Schütz, to a setting by Johann Hiller of “Alles Fleisch” (used by Brahms centuries later in “Ein Deutsches Requiem”), to the numinous coloratura of Bach’s “Lobet den Herrn,” to some especially lovely part-songs of Schumann, to a performance-art work written for the group by Bernd Franke in 2010, the quintet met the demands of every piece with cool perfection. -
Eftychia Papanikolaou Is Assistant Professor of Musicology and Coordinator of Music History Studies at Bowling Green State University in Ohio
Eftychia Papanikolaou is assistant professor of musicology and coordinator of music history studies at Bowling Green State University in Ohio. Her research (from Haydn and Brahms to Mahler’s fi n-de-siècle Vienna), focuses on the in- terconnections of music, religion, and politics in the long nineteenth century, with emphasis on the sacred as a musical topos. She is currently completing a monograph on the genre of the Romantic Symphonic Mass <[email protected]>. famous poetic inter- it was there that the Requiem für Mignon polations from Johann (subsequently the second Abteilung, Op. The Wolfgang von Goethe’s 98b), received its premiere as an inde- Wilhelm Meisters Leh- pendent composition on November 21, rjahre [Wilhelm Meister’s Apprenticeship], 1850. With this dramatic setting for solo especially the “Mignon” lieder, hold a voices, chorus, and orchestra Schumann’s prestigious place in nineteenth-century Wilhelm Meister project was completed. In lied literature. Mignon, the novel’s adoles- under 12 minutes, this “charming” piece, cent girl, possesses a strange personality as Clara Schumann put it in a letter, epito- whose mysterious traits will be discussed mizes Schumann’s predilection for music further later. Goethe included ten songs in that defi es generic classifi cation. This Wilhelm Meisters Lehrjahre, eight of which article will consider the elevated status were fi rst set to music by Johann Fried- choral-orchestral compositions held in rich Reichardt (1752–1814) and were Schumann’s output and will shed light on included in the novel’s original publication tangential connections between the com- (1795–96). Four of those songs are sung poser’s musico-dramatic approach and his by the Harper, a character reminiscent of engagement with the German tradition. -
Zur Reger-Rezeption Des Wiener Vereins Für Musikalische Privataufführungen
3 „in ausgezeichneten, gewissenhaften Vorbereitungen, mit vielen Proben“ Zur Reger-Rezeption des Wiener Vereins für musikalische Privataufführungen Mit Max Regers frühem Tod hatte der unermüdlichste Propagator seines Werks im Mai 1916 die Bühne verlassen. Sein Andenken in einer sich rasant verändernden Welt versuchte seine Witwe in den Sommern 1917, 1918 und 1920 abgehaltenen Reger-Festen in Jena zu wahren, während die schon im Juni 1916 gegründete Max- Reger-Gesellschaft (MRG) zwar Reger-Feste als Kern ihrer Aufgaben ansah, we- gen der schwierigen politischen und fnanziellen Lage aber nicht vor April 1922 ihr erstes Fest in Breslau veranstalten konnte. Eine kontinuierliche Auseinandersetzung zwischen diesen zwar hochkarätigen, jedoch nur sporadischen Initiativen bot Arnold Schönbergs Wiener „Verein für mu- sikalische Privataufführungen“, dessen Musiker, anders als die der Reger-Feste, in keinem persönlichen Verhältnis zum Komponisten gestanden hatten. Mit seinen idealistischen Zielen konnte der Verein zwar nur drei Jahre überleben, war aber in der kurzen Zeit seines Wirkens vom ersten Konzert am 29. Dezember 1918 bis zum letzten am 5. Dezember 1921 beeindruckend aktiv: In der ersten Saison veranstal- tete er 26, in der zweiten 35, in der dritten sogar 41 Konzerte, während die vorzeitig beendete vierte Saison nur noch elf Konzerte bringen konnte. Berücksichtigt wur- den laut Vereinsprospekt Werke aller Stilrichtungen unter dem obersten Kriterium einer eigenen Physiognomie ihres Schöpfers. Pädagogisches Ziel war es, das Pu- blikum auf -
Max Reger's Adaptations of Bach Keyboard Works for the Organ Wyatt Smith a Dissertation Submitted in Partial Fulfillment Of
Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Carole Terry, Chair Jonathan Bernard Craig Sheppard Program Authorized to Offer Degree: School of Music ©Copyright 2019 Wyatt Smith ii University of Washington Abstract Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith Chair of the Supervisory Committee: Dr. Carole Terry School of Music The history and performance of transcriptions of works by other composers is vast, largely stemming from the Romantic period and forward, though there are examples of such practices in earlier musical periods. In particular, the music of Johann Sebastian Bach found its way to prominence through composers’ pens during the Romantic era, often in the form of transcriptions for solo piano recitals. One major figure in this regard is the German Romantic composer and organist Max Reger. Around the turn of the twentieth century, Reger produced many adaptations of works by Bach, including organ works for solo piano and four-hand piano, and keyboard works for solo organ, of which there are fifteen primary adaptations for the organ. It is in these adaptations that Reger explored different ways in which to take these solo keyboard works and apply them idiomatically to the organ in varying degrees, ranging from simple transcriptions to heavily orchestrated arrangements. This dissertation will compare each of these adaptations to the original Bach work and analyze the changes made by Reger. It also seeks to fill a void in the literature on this subject, which often favors other areas of Reger’s transcription and arrangement output, primarily those for the piano. -
Reger on the Web
28 reger on the web It is quite interesting to browse the internet regarding information on Max Reger, though it must be said that very few websites give really substantial accounts. Any account, however, can help retaining Reger under consideration. Several CD labels, concert organisers (http://www.chorkonzerte.de/ – Erlöserkirche München, http://www.geocities.com/Vienna/ Strasse/1945/WSB/reger.html – Washington Sängerbund, http://www.konzerte-weiden.de/ – Förderkreis für Kammermusik Weiden or http://www.max-reger-tage.de – Max-Reger-Tage Weiden) or music publishers (e.g. C. F. Peters, http://www.edition-peters.de/urtext/reger/ choralfantasien_2/) give tiny bits when advertising their stuff, and in music periodicals’ websi- tes reviews may be found (one of the best websites in this respect is http://www.gramopho- ne.co.uk/reviews/default.asp which stores past reviews of many Gramophone issues; other reviews can be found e. g. under http://www.musicweb.uk.net/). Links to commercial aspects of Reger – CDs, books, sheet music etc. can be found on http://www.mala.bc.ca/~mcneil/ reger.htm. There are several websites that are rather the only online source for one or the other spe- cific country, amongst them French, Spanish, Korean, Japanese, or Polish websites (http://mac-texier.ircam.fr/textes/c00002635/, http://www.rtve.es/rne/rc/boletin/boljun/reger.htm, http://members.tripod.lycos.co.kr/ksjpiano/reger.htm, http://www.ne.jp/asahi/piano/natsui/ S_Reger.htm – with reference to Reger’s Strauß transcription, http://wiem.onet.pl/ wiem/0039a5.html). Several Netherlands websites show how well-loved Reger is in our neigh- bouring country, and even deal with the interpretation of Reger’s organ music (http://www. -
Historicism and German Nationalism in Max Reger's Requiems
Historicism and German Nationalism in Max Reger’s Requiems Katherine FitzGibbon Background: Historicism and German During the nineteenth century, German Requiems composers began creating alternative German Requiems that used either German literary material, as in Schumann’s Requiem für ermans have long perceived their Mignon with texts by Goethe, or German literary and musical traditions as being theology, as in selections from Luther’s of central importance to their sense of translation of the Bible in Brahms’s Ein Gnational identity. Historians and music scholars in deutsches Requiem. The musical sources tended the late nineteenth and early twentieth centuries to be specifically German as well; composers sought to define specifically German attributes in made use of German folk materials, German music that elevated the status of German music, spiritual materials such as the Lutheran chorale, and of particular canonic composers. and historical forms and ideas like the fugue, the pedal point, antiphony, and other devices derived from Bach’s cantatas and Schütz’s funeral music. It was the Requiem that became an ideal vehicle for transmitting these German ideals. Although there had long been a tradition of As Daniel Beller-McKenna notes, Brahms’s Ein German Lutheran funeral music, it was only in deutsches Requiem was written at the same the nineteenth century that composers began time as Germany’s move toward unification creating alternatives to the Catholic Requiem under Kaiser Wilhelm and Bismarck. While with the same monumental scope (and the same Brahms exhibited some nationalist sympathies— title). Although there were several important he owned a bust of Bismarck and wrote the examples of Latin Requiems by composers like jingoistic Triumphlied—his Requiem became Mozart, none used the German language or the Lutheran theology that were of particular importance to the Prussians. -
Beyond Beethoven LEON BOTSTEIN, Conductor
Friday Evening, January 31, 2020, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Beyond Beethoven LEON BOTSTEIN, Conductor LOUIS SPOHR Symphony No. 6 in G major Op. 116 I. The Age of Bach and Handel 1720 II. The Age of Haydn and Mozart 1780 III. The Age of Beethoven 1810 IV. The Newest of the New 1840 GALINA USTVOLSKAYA Piano Concerto I. Lento assai II. Allegro moderato III. Andante (cantabile) IV. Largo V. Grave LUCAS DEBARGUE, Piano Intermission FRANZ LISZT Fantasy on Motifs from Beethoven’s Ruins of Athens LUCAS DEBARGUE, Piano Program continues on following page American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. MAX REGER Variations and Fugue on a Theme of Beethoven, Op.86 Theme (Andante) I. Un poco più lento II. Appassionato III. Andantino grazioso IV. Vivace V. Andante sostenuto VI. Allegretto con grazia VII. Poco Vivace VII. Allegro pomposo Fugue (Con spirito) This evening’s concert will run approximately 2 hours including one 20-minute intermission. from the Music Director Celebrating Beethoven piano concerto. Ustvolstkaya (1919– by Leon Botstein 2006) was a remarkable iconoclast. Her music is strikingly original and gripping Our habit of marking anniversaries in in its use of sound. We need to stop our culture of concert programming remembering her, if at all, in the context has to inspire some ambivalence. -
Karl Straube, Old Masters and Max Reger a Study in 20Th Century Performance Practice
Karl Straube, Old Masters and Max Reger A Study in 20th Century Performance Practice By Bengt Hambraeus In 1904, the German organist Karl Straube published Alte Meister, an anthology in two volumes of organ music from the 17th and early 18th centuries (Peters 3065 a/b). The second of these volumes was replaced in 1929 with two new ones, with the same title (Peters 4301 a/b). The 3065a volume, which is still available, bears the dedication “Dem jungen Meister Max Reger”, This dedication can be understood in two ways. Either: to a young master composer being on a par with his classical colleagues from past centuries; or: to a young promising composer (Reger, by then 31 years old, had already written many of his most important organ works). We do not have to speculate about the intention of the dedication as such, only observe it in relation to three facts: (i) Both Straube and Reger were born in the same year (1873) and thus belong to the same generation; Reger died in 1916, Straube in 1950; since 1903 Straube had held different positions at the Thomas Church in Leipzig, until 1918 as an organist, and subsequently as choral director; furthermore he had been teaching the organ at the Leipzig Music Conservatory since 1907. (2) Since the beginning of the century, Straube had published a few practical editions of old and more recent organ music. Among the latter, we find his alternative versions to some already printed organ works by Reger. His various editions can easily allow us to understand how he himself may have performed the music, and how and why his interpretations became trendsetters for many of his students. -
Max Reger Norrköping Symphony Orchestra Leif Segerstam
MAX REGER NORRKÖPING SYMPHONY ORCHESTRA LEIF SEGERSTAM LEIF SEGERSTAM BIS-9047 BIS-9047_f-b.indd 1 2013-10-17 11.46 REGER, Max (1873–1916) Orchestral Works Leif Segerstam conductor Norrköping Symphony Orchestra Total playing time: 3h 23m 54s 2 Disc 1 [64'56] Variations and Fugue on a Theme of Mozart 31'49 Op. 132 (1914) 1 Andante grazioso 2'29 2 Variation I. L’istesso tempo 2'35 3 Variation II. Poco agitato 1'52 4 Variation III. Con moto 1'21 5 Variation IV. Vivace 0'48 6 Variation V. Quasi presto 1'35 7 Variation VI. Sostenuto 2'20 8 Variation VII. Andante grazioso 2'20 9 Variation VIII. Molto sostenuto 7'13 10 Fugue. Allegretto grazioso 9'05 11 Symphonischer Prolog zu einer Tragödie 32'12 Op. 108 (1908) Grave – Allegro agitato – Molto sostenuto – Tempo I (Allegro) – Andante sostenuto – Tempo I (Allegro) – Molto sostenuto – Allegro agitato – Quasi largo – Andante sostenuto 3 Disc 2 [67'04] Piano Concerto in F minor, Op. 114 (1910) 43'43 1 I. Allegro moderato 20'34 2 II. Largo con gran espressione 12'21 3 III. Allegretto con spirito 10'32 Love Derwinger piano Suite im alten Stil, Op. 93 (1906, orch. 1916) 22'21 4 I. Präludium. Allegro comodo 6'08 5 II. Largo. Largo 8'38 6 III. Fuge. Allegro con spirito, ma non troppo vivace – Meno mosso – Andante sostenuto – Quasi largo 7'25 Instrumentarium Grand Piano: Steinway D 4 Disc 3 [71'54] Variations and Fugue on a Theme of Beethoven 21'18 Op. 86 (1904, orch. -
Ökumenischer Preis 2016 an Frank-Walter Steinmeier
B 215 75 F zur debatte 5/2016 Themen der Katholischen Akademie in Bayern 2 11 15 31 Bundesaußenminister Dr. Frank-Walter Prof. Dr. Thomas Sternberg, Präsident Zentralratspräsident Dr. Josef Schuster Prof. Dr. Markus Lienkamp sieht in Elek- Steinmeier plädiert für neue Wege des des ZdK, stellt den Außenminister in sei- stellt jüdisches Leben im Deutschland troautos die Grundlage zukünftiger Mo- Dialogs in Europa ner Laudatio als „Knotenlöser“ vor von heute vor bilität 10 14 23 35 Ein Grußwort der Bayerischen Staats- Das Schlusswort bei der Preisverleihung Bedeutende Werke und entscheidende Albert von Schirnding begrüßte diesmal regierung überbrachte Staatsministerin hielt Reinhard Kardinal Marx Punkte in der Biographie von Max Reger in seiner Reihe Jenny Erpenbeck Dr. Beate Merk erläutert Prof. Dr. Dr. Michael Hartmann Ökumenischer Preis 2016 an Frank-Walter Steinmeier Anlässlich eines Festaktes mit rund 300 Ehrengästen erhielt Elke Büdenbender, die Ehefrau des Geehrten, Außen- Bundesaußenminister Dr. Frank-Walter Steinmeier am 11. minister Dr. Frank-Walter Steinmeier, Laudator Prof. Dr. Juli 2016 den Ökumenischen Preis der Katholischen Aka- Dr. Thomas Sternberg und Akademiedirektor Dr. Florian demie Bayern. Die Laudatio hielt Prof. Dr. Thomas Stern- Schuller (v.l.n.r.). Lesen Sie im Anschluss die überarbeite- berg, Präsident des Zentralkomitees der deutschen Katholi- ten Reden des Festaktes, eine Presseschau sowie die Preis- ken. Auf dem Foto zu sehen: Kardinal Reinhard Marx, begründung und sehen Bilder rund um die Preisverleihung. Die Welt ist aus den Fugen – Editorial was hält uns zusammen? Bundesminister Frank-Walter Steinmeier Liebe Leserinnen und Leser! Es ist mir eine Ehre, mit dem Öku- Politik (bzw. Gesellschaft), Kultur menischen Preis der Katholischen Aka- (bzw. -
Requiem Woo V/9
Max Reger (1873–1916) Requiem WoO V/9 Vervollständigung der Sequenz zum Konzertgebrauch von Thomas Meyer-Fiebig Einleitung I. Bekanntlich waren Tod und Vergänglichkeit ein zentrales Thema in Max Regers Denken und Schaffen.1 Schon im langsamen Satz der 1894-5 entstandenen Orgelsuite e-Moll op. 16 findet sich neben den Choralmelodien Es ist das Heil uns kommen her und Aus tiefer Not schrei ich zu dir die achte Strophe des Chorals O Haupt voll Blut und Wunden, »Wenn ich einmal soll scheiden«; rund zwanzig Jahre später war die Aktualität dieser Choralstrophe nicht geringer geworden, an Arthur Seidl schrieb Reger 1913: »Haben Sie noch nicht bemerkt, wie durch alle meine Sachen der Choral durchklingt „Wenn ich einmal soll scheiden?“«2 Selbst in der Verlobungszeit schuf Reger zahlreiche Choralvorspiele, die dem Themenbereich nahestehen: »Ich hab in den letzten Tagen Sachen geschrieben, die fast durchgängig vom Tode handeln! Sei mir nicht böse, ich bin eben so tiefernst! | Du mußt mich „aufhellen“, mußt meine Verdüsterung u. Schwarzseherei langsam ablösen – u. ich weiß, Dir, aber nur Dir allein, gelingt es!«3 Stimmungsaufhellungen sollten bei dem hochsensiblen Musiker immer wieder nur temporär sein, nicht nur musikalisch kreisten seine Gedanken immer wieder um Tod und Vergänglichkeit. Es ist bezeichnend, wie ironisch sich Karl Straube später zu Regers Empfindungen äußerte; an Günther Ramin schrieb er 1928: »Günter Raphael hat sein Violinkonzert vollendet. Ein erstaunlicher Mensch. Von einer Maßlosigkeit des Schaffens wie Max Reger. Sollte auch er unbewußt Todesnähe ahnen?«4 Schon vor Beginn des Ersten Weltkrieges, während seines Kuraufenthalts im 1 Vgl. Rainer Cadenbach, Memento und Monumentum.