7. Max Reger – Das Geistliche Lied Als Orgellied – Eine Gattung Entsteht
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Ie Sauer-Orgel D Der Thomaskirche Zu Leipzig 1889 | 1908
ie Sauer-Orgel D der Thomaskirche zu Leipzig 1889 | 1908 Thomasorganist Ullrich Böhme Max Reger · Eugène Gigout · Franz Liszt · César Franck · Marcel Dupré ie Sauer-Orgel D der Thomaskirche zu Leipzig 1889 | 1908 Thomasorganist Ullrich Böhme Max Reger (1873 —1916) César Franck (1822 — 1890) Fantasie und Fuge d-Moll op. 135b 9 Cantabile H-Dur aus „Trois Pièces pour („Meister Richard Strauss in besonderer le Grand Orgue“ 7 : 04 Verehrung“) 1 Fantasie 7 : 25 Marcel Dupré (1886 —1971) 2 Fuge 9 : 13 Variations sur un Noël op. 20 10 Moderato 1 : 04 Eugène Gigout (1844 —1925) 11 Ire Var. Larghetto 0 : 57 3 Marche religieuse 12 IIe Var. Poco animato 0 : 47 (à Monsieur A. Cavaillé-Coll) 3 : 29 13 IIIe Var. Canon à l’octave, Cantabile 1 : 25 4 Menuet 3 : 59 14 IVe Var. Vif 0 : 32 5 Communion 15 Ve Var. Vivace 0 : 54 (à mon ami Ch. M. Widor) 4 : 13 16 VIe Var. Canon à la quarte et à la 6 Scherzo 5 : 00 quinte, Plus modéré 1 : 11 7 Toccata 3 : 34 17 VIIe Var. Vivace 0 : 48 18 VIIIe Var. Canon à la seconde, Franz Liszt (1811 — 1886) Cantabile 1 : 30 8 Variationen über den Basso continuo 19 IXe Var. Animé 0 : 54 des ersten Satzes der Cantate: 20 Xe Var. Fugato, „Weinen, Klagen, (Sorgen, Zagen,) Non troppo vivace − Presto 3 : 18 Angst und Noth sind des Christen Thränenbrod“ und des Crucifixus der h-Moll-Messe von Sebastian Bach 15 : 57 Gesamtspielzeit / total time 73:14 4 5 Max Reger (1873 —1916) César Franck (1822 — 1890) Fantasie und Fuge d-Moll op. -
T H O M a N E R C H
Thomanerchor LeIPZIG DerThomaner chor Der Thomaner chor ts n te on C F o able T Ta b l e o f c o n T e n T s Greeting from “Thomaskantor” Biller (Cantor of the St Thomas Boys Choir) ......................... 04 The “Thomanerchor Leipzig” St Thomas Boys Choir Now Performing: The Thomanerchor Leipzig ............................................................................. 06 Musical Presence in Historical Places ........................................................................................ 07 The Thomaner: Choir and School, a Tradition of Unity for 800 Years .......................................... 08 The Alumnat – a World of Its Own .............................................................................................. 09 “Keyboard Polisher”, or Responsibility in Detail ........................................................................ 10 “Once a Thomaner, always a Thomaner” ................................................................................... 11 Soli Deo Gloria .......................................................................................................................... 12 Everyday Life in the Choir: Singing Is “Only” a Part ................................................................... 13 A Brief History of the St Thomas Boys Choir ............................................................................... 14 Leisure Time Always on the Move .................................................................................................................. 16 ... By the Way -
David Adams Dissi
VRIJE UNIVERSITEIT ‘Modern’ Organ Style in Karl Straube’s Reger Editions ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad Doctor aan de Vrije Universiteit Amsterdam, op gezag van de rector magnificus prof.dr. L.M. Bouter, in het openbaar te verdedigen ten overstaan van de promotiecommissie van de faculteit der Letteren op vrijdag 23 november 2007 om 10.45 uur in de aula van de universiteit, De Boelelaan 1105 door David William Adams geboren te Dublin, Ierland promotor: prof. dr. E. Kooiman copromotor: prof. dr. H.J. Busch ii for Mary A man that looks on glasse On it may stay his eye; Or if he pleaseth, through it passe, And then the heav’n espie. ( George Herbert) The art of performance only begins when the player learns to read ‘between the lines’, when the ‘unspoken’ comes to light. ( Max Reger ) iii iv Contents Chapter Subdivisions vi List of Tables xi Abbreviations xii Preface xiii Acknowledgements xiv Chapter 1 Max Reger and Karl Straube: Straube’s Reger Editions 1 Chapter 2 The Walze 7 Chapter 3 The Swell 41 Chapter 4 Sound and Registration 71 Chapter 5 Touch, Texture and Tempo 107 Chapter 6 The Survival of ‘Modern’ Organ Style: Straube and Reger Performance in the 1930s and 1940s 147 Chapter 7 Idealism and Resignation 169 Appendix 1 Chronology 187 Appendix 2 Organ Dispositions 190 Appendix 3 Early Performances of Max Reger’s Organ Music 196 Appendix 4 Reger’s Organ Works Listed 204 Appendix 5 An extract from Reger’s original and Straube’s 1912 edition of 206 Kyrie , op. -
David Adams Dissi
VU Research Portal Modern Organ Style in Karl Straube's Reger Editions Adams, D.W. 2007 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) Adams, D. W. (2007). Modern Organ Style in Karl Straube's Reger Editions. Eigen Beheer. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 25. Sep. 2021 VRIJE UNIVERSITEIT ‘Modern’ Organ Style in Karl Straube’s Reger Editions ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad Doctor aan de Vrije Universiteit Amsterdam, op gezag van de rector magnificus prof.dr. L.M. Bouter, in het openbaar te verdedigen ten overstaan van de promotiecommissie van de faculteit der Letteren op vrijdag 23 november 2007 om 10.45 uur in de aula van de universiteit, De Boelelaan 1105 door David William Adams geboren te Dublin, Ierland promotor: prof. -
15. Schlußbemerkungen
370 _________________________________________________________________________ 15. Schlußbemerkungen Dem Geistlichen (Solo-) Lied mit Begleitung (Reger) der Orgel Existenzberechtigung und Positionierung verliehen zu haben, war Aufgabe dieser Untersuchungen. Konsequent und logisch mußte es sein, auf dem Wege der Kontrastierung zu den etablierten Liedgattungen, in Abwägung der Kriterien dieser neuen Gattung – nomen est omen – den einzig sinnvollen Namen zu proklamieren, das Orgellied. Wenn dabei der Eindruck von Aufwertung- stendenzen anderer Liedgattungen (Chorlied, Kammermusiklied) entstanden ist, kann das nur förderlich für die weitere Lied-Entwicklung sein, trotz ersichtlicher Vermischungs- formen und gerade auch der uneinheitlichen musikhistorischen Beurteilung wegen. Das Orgellied hat in den etwa 150 Jahren seiner Entwicklungsgeschichte – zeitweise in Form einer Gratwanderung – allem Hoch und Tief widerstanden; als Zeichen seiner Zeit wehrte es Umbrüchen, ja es keimte in Tagen von Überwucherung, Ausufern und Explosion; gerade der Nimbus einer Berufsverbot-Taktik erreichte das Gegenteil bei den hochsensiblen, außergewöhnlich begabten Schöpferpersönlichkeiten, ohne welche das Orgellied zum Scheitern verurteilt wäre – eine wichtige Parallele zum Klavierlied. Eng mit den Wesensmerkmalen des Orgelliedes verknüpft sieht sich der dem Instrument Orgel und seinem Zielauftrag verpflichtete Komponist: Er weiß sich im Regelfall stets an die Liedkomposition gebunden, wenn es um seinen Entwicklungsweg geht; lebenslanges Lernen am Werk heißt lebenslanges -
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. -
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. -
Hugo Distler (1908-1942)
HUGO DISTLER (1908-1942): RECONTEXTUALIZING DISTLER’S MUSIC FOR PERFORMANCE IN THE TWENTY-FIRST CENTURY by Brad Pierson A dissertation Submitted in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Geoffrey P. Boers, Chair Giselle Wyers Steven Morrison Program Authorized to Offer Degree: School of Music © Copyright 2014 Brad Pierson ii Acknowledgements It has been an absolute joy to study the life and music of Hugo Distler, and I owe a debt of gratitude to many people who have supported me in making this document possible. Thank you to Dr. Geoffrey Boers and Dr. Giselle Wyers, who have served as my primary mentors at the University of Washington. Your constant support and your excellence have challenged me to grow as a musician and as a person. Thank you to Dr. Steven Morrison and Dr. Steven Demorest for always having questions and forcing me to search for better answers. Joseph Schubert, thank you for your willingness to always read my writing and provide feedback even as you worked to complete your own dissertation. Thank you to Arndt Schnoor at the Hugo Distler Archive and to the many scholars whom I contacted to discuss research. Your thoughts and insights have been invaluable. Thank you to Jacob Finkle for working with me in the editing process and for your patience with my predilection for commas. Thank you to my colleagues at the University of Washington. Your friendship and support have gotten me through this degree. Finally, thank you to my family. You have always supported me in everything I do, and this journey would not have been possible without you. -
Performance in Theory and in Practice: Helmuth Rilling's Interpretations of Bach's B Minor Mass
77 Performance in Theory and in Practice: Helmuth Rilling’s Interpretations of Bach’s B minor Mass 1 Uri Golomb Abstract The conductor Helmuth Rilling documented his views on Bach’s B minor Mass in two different media: in addition to his three recordings, he wrote a monograph on this work, containing detailed analyses and performance instructions for each movement. Surprisingly, the recording that seems most consistent with the conductor’s verbally-stated views is his 1999 version – the one most chronologically distant from the book. In the book, Rilling repeatedly exhorts performers to trace the ebb-and-flow of tension within the music. His earlier performances, however, often display an internal rigidity which belies this ideal. This disparity might represent a tension between Rilling’s aesthetics and his adoption, in the 1960s and 1970s, of a performance style better-suited for the projection of strict Unity of Affect, reflecting the influence of several of Rilling’s mentors and erstwhile colleagues. In subsequent years, Rilling and his ensembles have gradually adopted a more locally flexible performance style, reflecting, in part, the influence of period-instrument performances. The comparison between the book and the recordings provides a fascinating case study on the relationship between a performer’s statements and practices; it also provides insights into how the ostensibly anti-Romantic influence of historical performance has increased the expressive options for Bach performance. 78 The conductor and scholar Helmuth Rilling, one of the most prominent interpreters of Bach’s music in the 20 th (and early 21 st ) century, provided posterity with several interpretations of Bach’s B-minor Mass, BWV 232, in two distinct media. -
Max Reger and Karl Straube
MAX REGER AND KARL STRAUBE Max Reger and Karl Straube Perspectives on an Organ Performing Tradition CHRISTOPHER ANDERSON University of North Dakota First published 2003 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon 0X14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group , an informa business Copyright © Christopher Anderson 2003 Christopher Anderson has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this Work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Anderson, Christopher Max Reger and Karl Straube : perspectives on an organ performing tradition 1. Reger, Max, 1873-1916 - Criticism and interpretation 2. Straube, Karl, 1873-1950 - Criticism and interpretation 3. Organ music - Interpretation (Phrasing, dynamics, etc.) 4. Organ (Musical instrument) - Performance I. Title 786.5T43 Library of Congress Cataloging-in-Publication Data Anderson, Christopher, 1966 July 13- Max Reger and Karl Straube : perspectives on an organ performing tradition / Christopher Anderson, p. cm. Includes bibliographical references and indexes. ISBN 0-7546-3075-7 (alk. paper) 1. Reger, Max, 1873-1916. Organ music. 2. Straube, Karl, 1873-1950.3. -
Die Thomaner Im 19. Jahrhundert Thomanerchor Leipzig Thomaskantor Georg Christoph Biller Die Thomaner Im 19
Thomanerchor Leipzig Die Thomaner im 19. Jahrhundert Thomanerchor Leipzig Thomaskantor Georg Christoph Biller Die Thomaner im 19. Jahrhundert The St Thomas Boys Choir in the 19th Century Werke von – Works by Albert Becker · Johannes Brahms · Moritz Hauptmann Heinrich von Herzogenberg · Arnold Mendelssohn · Felix Mendelssohn Bartholdy August Eberhard Müller · Ernst Friedrich Richter · Wilhelm Rust Johann Gottfried Schicht · Gustav Schreck · Christian Theodor Weinlig Die alte Thomas- schule 1868 mit dem Alumnat. Stich nach einer Zeichnung von Susette Hauptmann, Thomanerchor Leipzig der Gattin des Thomaskantors St Thomas’s Boys Choir Leipzig The old school Georg Christoph Biller of St Thomas with the boar- Thomaskantor – Thomas cantor ding school. Engraving after a drawing by Thomas cantor’s wife Susette ROP4016 , 2005 Hauptmann Die Thomaner im 19. Jahrhundert Christian Theodor Weinlig (*25.7.1780, Dresden; †6.3.1842, Leipzig; Thomaskantor 1823–1842) The St Thomas Boys Choir in the 19th Century 7 Dir tönt der Himmel Harfenklang .............................................................................................. 3:26 aus der Weihnachtskantate „Soweit der Sonne Herrlichkeit“ bearbeitet für vier- bis sechsstimmigen Chor – from the christmas cantata ”Soweit der Sonne Herrlichkeit“ arranged Heinrich von Herzogenberg for four- to six-part choir (Konstanze Beyer, Violine – violin; Benedek Csalog, Flöte – flute; (*10.6.1843, Graz; †9.10.1900, Wiesbaden) Hartmut Becker, Violoncello – cello; Claus-Peter Nebelung, Kontrabass – double bass; 1 Herr, du bist würdig zu nehmen Preis ........................................................................................ 1:57 Almuth Reuther, Orgel – organ) Motette für vierstimmigen Chor – Motet for four-part choir Felix Mendelssohn Bartholdy Johannes Brahms (*3.2.1809, Hamburg; †4.11.1847, Leipzig; Gewandhauskapellmeister 1835–1847) (*7.5.1833, Hamburg; †3.4.1897, Wien) 8 Der 43. -
Keventsidou.Pdf
Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Keventsidou, E. (2016) Max Reger's variations and fugue on an original theme op.73: issues of musical structure, performance practice and interpretation. Ph.D. thesis, Canterbury Christ Church University. Contact: [email protected] Max Reger's Variations and Fugue on an Original Theme Op. 73: Issues of musical structure, performance practice and interpretation by Eleni Keventsidou Canterbury Christ Church University Thesis submitted for the degree of Doctor of Philosophy Year 2016 ACKNOWLEDGMENTS I would like to express my deepest gratitude to all my supervisors, Dr. Robert Rawson, my first supervisor, who has helped me understand, organise my research topic and clarify my arguments. I am profoundly grateful to my second supervisor Dr. Maria Varvarigou, who made me understand that writing is equally rewarding and enthusiastic with performing. I would like to thank Professor Roderick Watkins for his constant support and encouragement.