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557338 bk Reger6 US 10/08/2005 10:15am Page 5 The Johannes Klais Organ, Trier Cathedral, Germany (1974) Koppeln: RP-HW, BW-HW, SW-HW, BW-RP, SW-RP, SW-BW, RP-P, HW-P, BW-P, SW-P Hauptwerk 2, Manual C – c’’’’’’ Doublette 2’ Tremulanten: RP, BW, SW, PED Terz 1 3/5’ Praestant 16’ Sifflet 1’ Röhrenglocken (HW) Principal 8’ Acuta 4fach Hohlflöte 8’ Oberton 3fach Windauslass-Ventile: HW, SW Gemshorn 8’ Hautbois 8’ REGER Quinte 5 1/3’ Vox Humana 8’ Tastenarretierung: HW Octave 4’ Nachthorn 4’ Schwellwerk 4. Manual C- c’’’’ 1920 elektronische Setzerkombinationen, Registercrescendo (Walze) Terz 3 1/5’ Six Trios, Op. 47 Quinte 2 2/3’ Bordun 16’ Spieltraktur mechanisch, Registertraktur elektrisch Betätigung der beiden Schweller mechanisch. Superoctave 2’ Principal 8’ Cornett 5fach Lochgedackt 8’ Mixtur 5fach Gamba 8’ Cymbel 3fach Unda maris 8’ Introduction, Variations Trompete 16’ Octave 4’ Trompete 8’ Flute octaviante 4’ and Fugue Trompete 4’ Salicional 4’ Flageolett 2’ in F sharp minor Rückspositiv 1. Manual C – c’’’’ Fourniture 6fach Cor anglais 16’ on an Original Theme Praestant 8’ Trompete 8’ Quintade 8’ Clairon 4’ Gedackt 8’ Principal 4’ Pedal C –g’ Chorale Fantasia on Rohrflöte 4’ Octave 2’ Untersatz 32’ ‘Alle Menschen müssen Waldflöte 2’ Principal 16’ Larigot 1 1/3’ Subbass 16’ Sesquialter 2fach Octave 8’ sterben’ Scharf 4fach Spielpfeife 8’ Glockencymbel 2fach Superoctave 4’ Dulzian 16’ Flöte 4’ Cromorne 8’ Hintersatz 5fach Aliquotbass 4fach Brustwerk 3. Manual (schwellbar) C – c’’’’ Piffaro 2fach Bombarde 32’ Rohrflöte 8’ Posaune 16’ Praestant 4’ Trompete 8’ Blockflöte 4’ Schalmey 4’ Nasard 2 2/3’ Martin Welzel, Organ 8.557338 5 6 8.557338 557338 bk Reger6 US 10/08/2005 10:15am Page 2 Max Reger (1873-1916): Organ Works Volume 6 continuing in the soprano, followed by the pedals again four-part texture and ternary form. Marked Vivacissimo, Martin Welzel Chorale Fantasia on ‘Alle Menschen müssen sterben’, Op. 52, No. 1 and completed in the tenor. A dramatic interlude leads the A major Scherzo offers immediate contrast, framing to more elaborate figuration with the third verse of the an A minor trio section. Martin Welzel received his musical training in Germany, where he worked with widely renowned artists and Six Trios, Op. 47 chorale, Jesus ist für mich gestorben (Jesus died for The fifth trio is an E minor Siciliano, marked scholars such as Jean Guillou, Daniel Roth, and Wolfgang Rübsam. He obtained his Master’s degree in Sacred Introduction, Variations and Fugue in F sharp minor on an Original Theme, Op. 73 me), marked pppp and again shared by varying Andantino and in the characteristic rhythm suggested by Music from Saarbrücken University of Music, as well as a Master’s degree and Artist diploma in Organ registers, manuals and pedals. A shorter episode is its title. The set ends with a C minor Fugue, its Vivace Performance, both with the highest honours. Moving to the United States, he studied with Carole Terry in Seattle, Max Reger owed his earlier interest in music to the and Austria, and throughout Germany. In 1911 he was followed by a version of the melody with the words of subject interrupted by a descending octave in where he took his doctorate in music at the University of Washington. Martin Welzel has performed throughout example and enthusiasm of his father, a schoolmaster invited by the Duke of Saxe-Meiningen to become the sixth verse superscribed, O Jerusalem, du schöne, contrasting registration. This provides a technically the United States and Europe as soloist, accompanist and member of ensembles and has held positions as organist, and amateur musician, and his early training to the town conductor of the court orchestra, an ensemble ach wie helle glanzest du! (O Jerusalem, thou beautiful, assured conclusion to pieces that are never less than director of music and choirmaster in Germany and the United States. Engagements have included performances at organist of Weiden, Adalbert Lindner. Reger was born established by Hans von Bülow and once conducted by how bright thou shinest!). The intervening episode pleasing. Washington National Cathedral, Stanford University and St Sulpice in Paris. Martin Welzel and his wife, in 1873 at Brand in the Upper Palatinate, Bavaria. The Richard Strauss, at the outset of his career. Reger held again leads to a dramatic dynamic climax before the Dedicated to Karl Straube, Reger’s Variations and Alexandra Kertz-Welzel, frequently perform as a duo, featuring American and European duo repertory for organ following year the family moved to Weiden and it was this position until the beginning of the war, when the chorale, with the words of the seventh verse, Ach, ich Fugue on an Original Theme, Op. 73, was written in and piano of the nineteenth and twentieth centuries. As a solo recitalist, his large repertoire spans from early music there that he spent his childhood and adolescence, orchestra was disbanded, an event that coincided with habe schon erblicket (Ah, I have often seen this great 1903. An extended and immensely demanding work, it to works by contemporary composers, with a particular emphasis on the organ music of Jeanne Demessieux. embarking on a course of training as a teacher when he his own earlier intention to resign. He spent his final glory), is heard in left-hand octaves, amid elaborate opens with an Introduction, chromatic and concentrated left school. Lindner had sent examples of Reger’s early years based in Jena, but continuing his active career as surrounding figuration. The fantasia mounts to a climax in its organ textures and contrasts of timbre. This fades compositions to his own former teacher, Hugo a composer and as a concert performer. He died in for the final words ‘mit der goldnen Ehrenkrone steh to the softest dynamic before the theme appears as a Riemann, who accepted Reger as a pupil, at first in Leipzig in May 1916 on his way back from a concert ich’ (with the golden crown of glory I stand), with a gentle Andante. The extended variations that follow are Sondershausen and then, as his assistant, in Wiesbaden. tour of the Netherlands. concluding apotheosis. of contrasting complexity, with a prophetic stretching of Military service, which affected Reger’s health and The music of Max Reger has a special position in The Six Trios for Organ, Op. 47, were published in the bounds of tonality, before the final gentle chorale- spirits, was followed by a period at home with his organ repertoire, and he is regarded by many as the 1900. The set opens with a Canon in E major, an like version of the theme. In the fugue, marked parents in Weiden and a continuing series of greatest German composer of organ music since Bach. Andante with the lower voice answered at the fourth by Vivacissimo, the four voices introduce the thematically compositions, in particular for the organ, including a A Catholic himself, he nevertheless drew on Lutheran the upper, with a steady bass pattern for the pedals. derived subject in the order alto, soprano, tenor and monumental series of chorale fantasias and other tradition and the rich store of chorales, the inspiration There follows a lively D minor Gigue, marked bass, the whole culminating in a massive dynamic compositions, often, it seems, designed to challenge the for chorale preludes, chorale fantasias and other works. Vivacissimo and treated contrapuntally, with two climax over a dominant pedal-point. technique of his friend Karl Straube, a noted performer The esteem in which his organ compositions were held repeated sections. The third trio is an A minor of Reger’s organ music. even in his own time owed much to the advocacy of Canzonetta marked Andantino and in predominantly Keith Anderson In 1901 Reger moved to Munich, where he spent Karl Straube, also a pupil of Riemann and from 1902 the next six years. His position in musical life was in organist at the Thomaskirche in Leipzig. some ways an uneasy one, since he was seen as a Reger wrote his Chorale Fantasia on ‘Alle champion of absolute music and as hostile, at this time, Menschen müssen sterben’, Op. 52, No. 1, (All men to programme music, to the legacy of Wagner and Liszt. must die) in 1900, dedicating it to Julius Smend, then He was successful, however, as a pianist and was Professor of Theology at the University of Strasbourg, a gradually able to find an audience for his music. The pioneer in the study of earlier Lutheran music and a period in Munich brought the composition of his leading figure in research into the use of music in the Sinfonietta, of chamber music, and of fine sets of Protestant liturgy. With an Introduction marked at first keyboard variations on themes by Bach and Beethoven, Assai agitato e molto espressivo (vivace), there is followed in later years by his well-known variations on almost at once a reminder of Bach’s Durch Adams Fall a theme by Mozart. (Through Adam’s fall), with the characteristic interval 1907 brought a change in Reger’s life, when he of a descending seventh, an aural representation of the took the position of professor of composition at the Fall of Adam that is to recur. The characteristically University of Leipzig, at a time when his music was dense chromatic figuration leads to the chorale melody, reaching a much wider public. This was supported by the score including the words of the first verse. The his own distinction as a performer and concert melody itself is shared by manuals and pedals, appearances in London, St Petersburg, the Netherlands, appearing first in the tenor register, then the bass, 8.557338 2 3 8.557338 4 8.557338 557338 bk Reger6 US 10/08/2005 10:15am Page 2 Max Reger (1873-1916): Organ Works Volume 6 continuing in the soprano, followed by the pedals again four-part texture and ternary form.