Reger's Bach and Historicist Modernism

Total Page:16

File Type:pdf, Size:1020Kb

Reger's Bach and Historicist Modernism 19TH CENTURY MUSIC Reger’s Bach and Historicist Modernism WALTER FRISCH Most accounts of Austro-German music from classicism has tended to overshadow histori- about 1885 until 1915, or roughly from the cist modernism, an earlier and soberer, but death of Wagner until the start of World War I, equally fascinating, phenomenon. 1 still tend to focus on chromaticism and atonal- Brahms plays a key role in the development ity as the barometers of emergent modernism. of historicist modernism. He showed how tech- Only more recently have we begun to under- niques of the remote past could be put in the stand that early modernism was a many- service of a musical language both expressive splendored thing, not restricted to late Mahler, and original. His a cappella sacred vocal works, Schoenberg and his pupils, and Strauss through steeped in Renaissance and Baroque principles, Elektra. One particularly rich vein of this pe- riod that has yet to be fully mined is what might be called historicist modernism, incor- 1Accounts of neoclassicism can be found in Scott Messing, porating music written in the years around 1900 Neoclassicism in Music: From the Genesis of the Concept that derives its compositional and aesthetic en- through the Schoenberg/Stravinsky Polemic (Ann Arbor: UMI Research Press, 1988); Stephen Hinton , The Idea of ergy not primarily from an impulse to be New, Gebrauchsmusik: A Study of Musical Aesthetics in the but from a deep and sophisticated engagement Weimar Republic (1919–1933) with Particular Reference with music of the past. I am not referring here to the Works of Paul Hindemith (New York: Garland, 1989); Richard Taruskin, “Back to Whom? Neoclassicism to neoclassicism, a term that normally con- as Ideology” (a review essay on the foregoing), this journal notes a repertory and practices associated with 16 (1993), 286–302; and “Historical Reection and Refer- Stravinsky, Hindemith, and other composers ence in Twentieth-Century Music: Neoclassicism and Be- yond,” a special segment of Journal of Musicology 9 (1991), of the 1920s and 30s. Often brash and cosmo- 411–97, with articles by J. Peter Burkholder, Joseph N. politan—and self-consciously au courant—neo- Straus, Marianne Kielian-Gilbert, and Scott Messing. 296 19th-Century Music, XXV/2–3, pp. 296–312. ISSN: 0148-2076. © 2002 by The Regents of the University of California. All rights reserved. Send requests for permission to reprint to: Rights and Permissions, University of California Press, Journals Division, 2000 Center St., Ste. 303, Berkeley, CA 94704-1223. This content downloaded from 128.59.222.12 on Wed, 29 Jul 2015 13:13:17 PM All use subject to JSTOR Terms and Conditions are of course prime examples, but the most In this article I would like to investigate WALTER FRISCH extraordinary and inuential product of his his- Reger’s historicist modernism, rst by sketch- Reger’s toricist imagination is the nale of the Fourth ing aspects of contemporary Bach reception and Bach and Historicist Symphony from 1885. With its unique fusion examining Reger’s activities in that context, Modernism of ancient and contemporary practice, this then discussing in greater detail two composi- passacaglia had a profound impact on subse- tions from different periods of his career, his quent composers. Schoenberg, Berg, Webern, First Suite for Organ, op. 16 (1895), and his Reger, and Zemlinsky all wrote pieces modeled Bach Variations for Piano, op. 81 (1904). after or partially inspired by Brahms’s nale. 2 Max Reger understood perhaps better than I any other composer of his generation that for The signs of engagement with Bach around Brahms the music of the past was not a crutch 1900, many and diverse, intensied a nine- but a creative stimulus. “What assures Brahms teenth-century trend, which had begun with immortality,” he wrote in 1896 (and reiterated Forkel and continued with Wagner, Spitta, and in later years), “is never and will never be his many others, of seeing Bach as embodiment of reliance on old masters, but the fact that he the German spirit. 5 One practical goal was to knew how to produce new, unimagined psy- get Bach’s works actively into the repertory of chological [ seelisch] moods on the basis of his performers in both secular and sacred and pro- own psychological makeup.”3 fessional and nonprofessional contexts. The One could say much the same for Reger’s Neue Bach-Gesellschaft came into being on 27 historicist modernism, which is modeled on January 1900, as successor to the old one, with that of Brahms and which is most evident in the goal (as stated in its bylaws) “to make the his attitudes toward and assimilation of the works of the great German composer Johann music of J. S. Bach. Reger’s reception of Bach Sebastian Bach a creative force among the Ger- exemplies an important development in the man people and in those countries that are years around 1900, when Bach began to edge open to serious German music, and in particu- out Beethoven as a principal model for many lar to make his sacred works useful for the composers in Austria and Germany. As Rudolf worship service.”6 To that end, the NBG began Stephan has observed, Bach’s music came to publishing the Bach-Jahrbuch (which rst ap- represent both an Altklassik alongside the peared in 1904), initiated a series of moveable Klassik and a pathway forward among the many Bach festivals to be held in different locales crosscurrents of modernism. 4 every few years, and planned editions of both instrumental and sacred vocal works “für den praktischen Gebrauch.”7 2Schoenberg, “Nacht,” from Pierrot lunaire (1912), and The rst two decades of the twentieth cen- Passacaglia for Orchestra (fragment from 1926); Berg, tury would see a rash of publications assessing Altenberg Lieder, op. 4, no. 5 (1912); Webern, Passacaglia or advocating Bach’s position with the modern for Orchestra, op. 1 (1908); Reger, nale of First Organ Suite, op. 16 (1895); Zemlinsky, nale of Symphony in B (1897). 3Cited in Johannes Lorenzen, Max Reger als Bearbeiter Bachs (Wiesbaden: Breitkopf and Härtel, 1982), p. 86 (trans. 5For a summary of this phenomenon, see Michael mine). Unless otherwise noted, all translations from the Heinemann and Hans-Joachim Hinrichsen, “Der ‘deutsche’ German are my own. Bach,” in Bach und die Nachwelt, ed. Heinemann and 4Rudolf Stephan, “Max Regers Kunst im 20. Jahrhundert: Hinrichsen, vol. II (Laaber: Laaber, 1999), pp. 11–28. See Über ihre Herkunft und Wirkung,” in Musiker der also the still valuable study by Friedrich Blume, Two Cen- Moderne: Porträts und Skizzen, ed. Albrecht Riethmüller turies of Bach: An Account of Changing Taste (New York: (Laaber: Laaber, 1996), p. 37. Stephan’s are among the most Da Capo, 1978). thoughtful writings on Bach reception among German com- 6“Satzungen der Neuen Bachgesellschaft,” in Arnold posers around 1900. See also his “Johann Sebastian Bach Schering, Die neue Bachgesellschaft, 1900–1910 (Leipzig: und die Anfänge der Neuen Musik,” in Vom musikalischen Breitkopf and Härtel, 1911), p. 21. Denken: Gesammelte Vorträge, ed. Rainer Damm and 7See Schering, Die neue Bachgesellschaft, for details on all Andreas Traub (Mainz: Schott, 1985), pp. 18–24; and the early activities and publications of the NBG. I am “Schoenberg and Bach,” in Schoenberg and His World, ed. grateful to Steven Crist for alerting me to this pamphlet Walter Frisch (Princeton: Princeton University Press, 1999), and to Christoph Wolff for securing a copy from the Bach- pp. 126–40. Archiv in Leipzig. 297 This content downloaded from 128.59.222.12 on Wed, 29 Jul 2015 13:13:17 PM All use subject to JSTOR Terms and Conditions 19TH world. In its inaugural issue in the fall of 1901, that “Bach help our age to attain the spiritual CENTURY MUSIC the journal Die Musik featured as its lead ar- unity and fervour of which it so sorely stands ticle “Johann Sebastian Bach und die Deutsche in need.”10 This sentence does not appear in Musik der Gegenwart,” by Wilibald Nagel, a the original French edition of 1905. critic-historian from Darmstadt. Besides rehash- In 1913 August Halm would publish his Von ing the idea of Bach as national icon, Nagel zwei Kulturen der Musik, the rst modern study sounds a note that would become very charac- to place the “culture” of Bach’s fugal polyphony teristic of Bach reception: Bach as healthy, as on an equal status (and in a dialectical relation- restorative within a culture that was seen by ship) with that of Beethoven’s sonata forms. many as decadent or sick. He argues that the Halm analyzes a number of Bach themes for artistic world is dominated by Sensation, by an their organic growth and integrity, for their emphasis on the sensuous, for which Bach could “spiritual, biological unity,” and for their pow- help provide a “Wiedergesundung.”8 erful “life force” or Lebenskraft .11 Halm’s work Four years later, the editors of Die Musik had a direct inuence on that of his friend would follow up on Nagel’s theme by conduct- Ernst Kurth, whose Grundlagen des linearen ing a full-edged survey on the question “Was Kontrapunkts appeared in 1917. For Kurth, Bach ist mir Johann Sebastian Bach und was bedeutet is the greatest manifestation of the way in which er für unsere Zeit?” (What does Johann Sebastian a dynamically owing melodic line can gener- Bach mean to me and what is his importance ate larger polyphonic and formal structures. for our era?). Opinions were sought from virtu- Expanding on Halm’s view of the generative ally every major living gure in music, not powers of Bach’s melodies, he attempts to dem- only those within the Austro-German sphere onstrate “kinetic energy” in individual phrases like Mahler, Reger, Schillings, Artur Nikisch, or passages from Bach’s works.
Recommended publications
  • A Historiography of Musical Historicism: the Case Of
    A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of MUSIC by Shao Ying Ho, B.M. San Marcos, Texas May 2013 A HISTORIOGRAPHY OF MUSICAL HISTORICISM: THE CASE OF JOHANNES BRAHMS Committee Members Approved: _____________________________ Kevin E. Mooney, Chair _____________________________ Nico Schüler _____________________________ John C. Schmidt Approved: ___________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Shao Ying Ho 2013 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work, I, Shao Ying Ho, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS My first and foremost gratitude is to Dr. Kevin Mooney, my committee chair and advisor. His invaluable guidance, stimulating comments, constructive criticism, and even the occasional chats, have played a huge part in the construction of this thesis. His selfless dedication, patience, and erudite knowledge continue to inspire and motivate me. I am immensely thankful to him for what I have become in these two years, both intellectually and as an individual. I am also very grateful to my committee members, Dr.
    [Show full text]
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • Introduction
    INTRODUCTION Carl Philipp Emanuel Bach wrote the two keyboard con- composed the concertos for performance by or with the certos contained in the present volume—the Concerto princess’s musical establishment, or she herself may have in G Major, Wq 34 and the Concerto in E-flat Major, commissioned them directly from Bach. There is, however, Wq 35—in 1755 and 1759, respectively. They are listed on no explicit evidence that confirms this supposition. Bach pages 32–33 in NV 1790: subsequently adapted both works for harpsichord for his No. 35. G. dur. B. 1755. Orgel oder Clavier, 2 Violinen, own use and also arranged the G-major concerto for flute 4 Bratsche und Baß; ist auch für die Flöte gesetzt. (Wq 169). Neither work was published in Bach’s lifetime. No. 36. Es. dur. B. 1759. Orgel oder Clavier, 2 Hörner, The source record for both Wq 34 and 35 is good. Au- 2 Violinen, Bratsche und Baß. tograph or partly autograph scores and parts survive for both works. These indicate that Bach made alterations and Except for the Concerto in E-flat Major for Harpsichord improvements at a somewhat later time after the works and Fortepiano, Wq 47, these two concertos are the only were composed. In addition, more than a dozen contem- keyboard concertos for which a keyboard instrument porary copies of each work exist, indicating that they were other than the harpsichord is noted in NV 1790. The fact both well-known and popular with the North German that the organ is listed before the harpsichord in the de- musical public.
    [Show full text]
  • NUI MAYNOOTH Ûllscôst La Ttéiîéann Mâ Üuad Charles Villiers Stanford’S Preludes for Piano Op.163 and Op.179: a Musicological Retrospective
    NUI MAYNOOTH Ûllscôst la ttÉiîéann Mâ Üuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 Volumes) Volume 1 Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Professor Fiona M. Palmer Supervisors: Dr Lorraine Byrne Bodley & Dr Patrick F. Devine Acknowledgements I would like to express my appreciation to a number of people who have helped me throughout my doctoral studies. Firstly, I would like to express my gratitude and appreciation to my supervisors and mentors, Dr Lorraine Byrne Bodley and Dr Patrick Devine, for their guidance, insight, advice, criticism and commitment over the course of my doctoral studies. They enabled me to develop my ideas and bring the project to completion. I am grateful to Professor Fiona Palmer and to Professor Gerard Gillen who encouraged and supported my studies during both my undergraduate and postgraduate studies in the Music Department at NUI Maynooth. It was Professor Gillen who introduced me to Stanford and his music, and for this, I am very grateful. I am grateful to the staff in many libraries and archives for assisting me with my many queries and furnishing me with research materials. In particular, the Stanford Collection at the Robinson Library, Newcastle University has been an invaluable resource during this research project and I would like to thank Melanie Wood, Elaine Archbold and Alan Callender and all the staff at the Robinson Library, for all of their help and for granting me access to the vast Stanford collection.
    [Show full text]
  • Matt Machemer
    GRADUATE ORGAN RECITAL Matthew A. Machemer In partial fulfillment of the requirements for the degree Master of Church Music June 25, 2021 7:00 P.M. Chapel of Christ Triumphant Concordia University Wisconsin Praeludium in G Nicolaus Bruhns 1665 – 1697 While Nicolaus Bruhns was not blessed with a long life, he was gifted with incredible musical abilities and a keen compositional sense. He was both a gifted violinist and viola de gamba player as well as an acclaimed organist. By his mid-twenties, Bruhns had studied with some of the most celebrated musicians of his time, most notably Dietrich Buxtehude, who was particularly fond of the young musician and whose influence can be seen in Bruhn’s own compositions. One such example is Bruhns’ Praeludium in G: an excellent example of the Stylus Phantasticus made famous under by Buxtehude himself. The Praeludium in G is perhaps Bruhns’ most structurally significant work. The praeludium is ordered according to the common five-part structure indicative of most north German organ praeludia of the time. The piece opens with a virtuosic fanfare section, interspersing manual and pedal flourishes with more structured motivic material. This motivic material forms the basis of the first fugal section, which features six voices: four in the manuals and two in the pedals. One can imagine young Nicolaus, who was known to play the violin and the organ pedals simultaneously, delighting in this masterful display. A middle improvisatory section follows featuring pedal solos and manual figurations reminiscent of a fiery violin solo. The fourth section is the final fugue, which closely mirrors the first, though the subject is presented in a different time signature and features only five voices instead of six.
    [Show full text]
  • Fugal Procedures in the Mendelssohn Organ Sonatas
    The Woman's College of The University of North Carolina LIBRARY CQ tio.ssi COLLEGE COLLECTION Gift of Charlotte Alston ALSTON, CHARLOTTE LENORA. Fugal Procedures in the Mendelssohn Organ Sonatas. (1968) Directed by: Mr. Jack Jarrett. pp. 54 Felix Mendelssohn (1809-1847) wrote Six Sonatas for Organ, Opus 65, published in 1845. Fugal procedures are a predominant feature in these sonatas. With the exception of two independent fugues, the Mendelssohn sonatas represent an instance in com- position where monothematic-form techniques and multi-thematic form techniques are used within the same movement. An examination of the Mendelssohn sonatas was made in an attempt to discover how Mendelssohn uses fugal procedures in multi-thematic forms. The study reveals that Mendelssohn uses fugal procedures within the context of sonata-allegro form and ternary form. The use of fugal procedures within the sonata- allegro form is represented in the first movement of the First Sonata. Its use in the ternary form is found in the first move- ment of the Third Sonata and the first and fourth movements of the Fourth Sonata. The study reveals that the first movement of the First Sonata is a modified fugue in sonata-allegro form. This relation- ship of fugal procedures and sonata-allegro form poses a funda- mental problem of fugal continuity. Accordingly, cadences play an important role in this movement. The basic outline of the tonal structure of the movement was found to be that of sonata- allegro form. The type of punctuation normally associated with sonata-allegro form is modified to allow for fugal continuity.
    [Show full text]
  • Rhythmic Freedom in Mendelssohn's Six Organ Sonatas
    Rhythmic Freedom in Mendelssohn's Six Organ Sonatas Item Type text; Electronic Dissertation Authors Thomas , William Kullen Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 07:16:54 Link to Item http://hdl.handle.net/10150/642104 RHYTHMIC FREEDOM IN MENDELSSOHN’S SIX ORGAN SONATAS by William Kullen Thomas _____________________________ Copyright ©William Kullen Thomas 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by William Kullen Thomas, titled Rhythmic Freedom in Mendelssohn’s Six Organ Sonatas and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ___ ____________________________________ Date: June 15, 2020 Professor Rex A. Woods ___ ______________________________________ Date: June 15, 2020 Dr. Jay Rosenblatt Date: June 15, 2020 Professor Edward Reid Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • University of Oklahoma Graduate College Primary
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PRIMARY RHETORIC AND THE STRUCTURE OF A PASSACAGLIA A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By SAMUEL R. BACKMAN Norman, Oklahoma 2020 PRIMARY RHETORIC AND THE STRUCTURE OF A PASSACAGLIA A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY A COMMITTEE CONSISTING OF Dr. John Schwandt, Chair Dr. Joyce Coleman Dr. Eugene Enrico Dr. Jennifer Saltzstein Dr. Jeffrey Swinkin © Copyright by SAMUEL RAY BACKMAN 2020 All Rights Reserved. ACKNOWLEDGEMENTS I wish to express my most sincere thanks to the following people: Dr. John Schwandt has broadened my perspective surrounding the pipe organ as a mechanism, as well as my understanding of its history and repertoire. Dr. Damin Spritzer, whose superb musicianship, laudable organ literature courses, and generous and congenial spirit allowed me to flourish during my studies. Furthermore her counsel was invaluable in creation of the present document. My committee members, Dr. Jennifer Saltzstein, Dr. Jeffrey Swinkin, Dr. Eugene Enrico, and Dr. Joyce Coleman, who selflessly devoted themselves to providing insightful, constructive, and timely feedback. I am honored to have had the opportunity to work with such fine scholars. Their invaluable insights had a profoundly positive impact on the quality, content, and focus of this document. My friends, family, and colleagues, who provided practical counsel and moral support throughout my years of study. My parents and sisters have been a robust and wonderful support system to me through all phases of life, and I am particularly grateful to my wife, Jessica, for her gracious support and patience.
    [Show full text]
  • The Ideologies of Theory
    THE IDEOLOGIES OF THEORY THE IDEOLOGIES OF THEORY ◆ FREDRIC JAMESON London · New York This edition first published by Verso 2008 Copyright © Fredric Jameson 2008 All rights reserved The moral rights of the author have been asserted 13579108642 Verso UK: 6 Meard Street, London W1F 0EG USA: 20 Jay Street, Suite 1010, Brooklyn, NY 11201 www.versobooks.com Verso is the imprint of New Left Books ISBN-13: 978-1-84467-277-6 (pbk) ISBN-13: 978-1-84467-276-9 (hbk) British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress Typeset in Garamond by WestKey Ltd, Falmouth, Cornwall Printed in the USA by Maple Vail An die Nachgeborenen: Seth, Anne, Justin, Jenny, Cassie, Stacy, Cade, Charlotte Contents Introduction ix PART I. SITUATIONS OF THEORY 1 Metacommentary 5 2 The Ideology of the Text 20 3 Imaginary and Symbolic in Lacan 77 4 Criticism in History 125 5 Symbolic Inference; or, Kenneth Burke and Ideological Analysis 144 6 Figural Relativism; or, The Poetics of Historiography 161 7 Modernism and Its Repressed; or, Robbe-Grillet as Anti- 175 Colonialist 8 Morality Versus Ethical Substance; or, Aristotelian Marxism in 189 Alasdair MacIntyre 9 On Negt and Kluge 194 10 Benjamin’s Readings 222 11 Foreword to Jean-François Lyotard’s The Postmodern Condition 243 12 Foreword to Jacques Attali’s Noise: The Political Economy of Music 256 13 The Theoretical Hesitation: Benjamin’s Sociological Predecessor 264 14 How Not to Historicize Theory 286 PART II.
    [Show full text]
  • Schübler and Leipzig Chorales Canonic Variations Kåre Nordstoga Schnitger Organ St
    BACH SCHÜBLER AND LEIPZIG CHORALES CANONIC VARIATIONS KÅRE NORDSTOGA SCHNITGER ORGAN ST. MARTIN’S CHURCH OF GRONINGEN BACH ORGAN WORKS ‡ ‡ DA BACH VILLE OPPSUMMERE Mot slutten av sitt virke hadde blir demonstrert og uttømt med Bach-eleven Lorenz Mizler, og Den overlegne beherskelsen av Samlingen «Orgelbüchlein» med utsmykket melodi som en vug- J.S. Bach bedre tid enn i de en uovertruffen kunstferdighet. medlemslisten omfattet allerede kanonteknikken er beslektet med korte koralbearbeidelser fra gende sarabande. første årene i Leipzig fra 1723. Telemann og Händel. matematiske løsninger. Det er Weimar får i dette Leipzig-verket Han hadde bygget opp et re- EINIGE CANONISCHE hevdet at hvis ikke Bach hadde en avansert parallell. Teknikker 3. An Wasserflüssen Babylon, pertoar innen mange genrer han De musikalske bidragene skulle blitt musiker, hadde han kanskje fra tysk tradisjon (Pachelbel og BWV 653 VERÄNDERUNGEN ÜBER DAS kunne gripe tilbake til, ikke minst ha vitenskapelig kvalitet, men vært matematiker på høyeste nivå. Buxtehude) finslipes og bringes biblioteket av kantater til sønda- WEYNACHT-LIED «VOM HIMMEL ikke som «en unyttig teori». De Det kan også være en opplevelse opp til nye dimensjoner. Den tyske salmeteksten bygger gens gudstjenester. HOCH, DA KOMM ICH HER» skulle «vekke eller tilfredsstille å studere de skrevne notene med på jødenes klagesang ved Baby- PER CANONES Á 2 CLAVIERS ET menneskers lidenskap». sin kunstferdige kontrapunktikk. Manuskriptet åpner med boksta- lons floder i Salme 137. På norsk Den kortsiktige arbeidsinnsatsen Det er ikke bare «øremusikk», men vene «J.J.», «Jesu juva»: «Hjelp, (og også på tysk) er koralen PÉDALE, BWV 769 med nye verker fra uke til uke Sammen med sitt portrett, det også «øyemusikk»! Jesus».
    [Show full text]
  • Heinrich Reimann – Zum 100
    heinrich reimann – zum 100. todestag 11 Heinrich Reimanns Tätigkeit als Organist und Komponist war nicht von Anbeginn vorgezeichnet. Er wurde am 14. März 1850 im schlesischen Rengersdorf als Sohn von Ignaz Reimann (Lehrer, Komponist und Organist) geboren, studierte zuerst Lehramt und Altphilologie und war als Lehrer tätig. Bedeutend für seinen musikalischen Lebensweg war die Begegnung mit dem Breslauer Domorganisten Moritz Brosig (1815–1887), als dessen Orgelschüler er eine umfassende Ausbildung erhielt. Bereits Brosig spielte die Bach’schen Orgelwerke nicht mehr im Vollen Werk der Orgel, sondern interpretierte sie dynamisch flexibel. Nach verschiedenen Stationen als Lehrer und Gymnasialdirektor ging Reimann 1879 zum ersten Mal nach Berlin, 1880 wieder nach Ratibor (Schlesien) und 1885/86 nach Leipzig. Sein Ruf als hervorragender Organist verbreitete sich schnell, 1888 wurde er zum Philharmonie- organisten in Berlin berufen. Im Rahmen dieser Tätigkeit traf er ver- mutlich am 1. Juni 1891 auf Anton Bruckner. Der Leiter des Berliner Singakademie Siegfried Ochs hat dieses kuriose Zusammentreffen der Nachwelt überliefert: „Als nämlich Bruckner seinen Platz an der Orgel einnehmen wollte, trat Heinrich Reimann dazwischen und erklärte, er müsse erst die Orgel einspielen. Wir anderen hatten allerdings dabei den Eindruck, dass er Bruckner mit seiner Bedeutung als Organist imponieren wollte. Er setzte sich also auf die Orgelbank und spielte wohl eine Stunde hindurch ohne Unterbrechung. Bruckner wurde inzwischen ungeduldig, beklagte sich laut darüber, dass er so lange warten müsse, und endlich baten wir Reimann, doch aufzuhören. Dann kam Bruckner an die Reihe. Der spielte etwa zehn Minuten oder eine Viertelstunde lang, die herrlichsten Themen und Harmoniefolgen improvisierend, auf eine Weise, die uns allen vollkommen neu war; aber als die ganze Zuhörerschaft auf das äußerste gefesselt und tief ergriffen lauschte, gab die Orgel plötzlich einen Ton, wie einen leisen Schrei, von sich, und dann schwieg sie.
    [Show full text]
  • 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.
    [Show full text]