Everyone has enjoyed a crossword puzzle at some point in their life, with millions turning to them daily for a gentle getaway to relax and enjoy – or to simply keep their minds stimulated. The music of Max Reger has a special position in organ repertoire, and he is regarded by many as the greatest German composer of organ music since Bach. Anyone who knows me will appreciate my liking for the German composer Max Reger, who due to his vast output of organ music and his fondness for counterpoint was often described as the Bach of the twentieth century. Only the ppp at the beginning of "Der Mensch lebt und bestehet" still suggests Reger's excessive use of dynamics which, however, refrains from an otherwise typical più fff eruption in favor of a new simplicity which not only in the dynamics but also in the formal and harmonic structure of the is distinguished by an unexpected restraint. His best known compositions are his Requiem for 3 Cellos and Orchestra (1891), High School of Cello Playing for solo cello (1901-1905), Elfentanz (Dance of the Elves) for cello and piano (ca. Toccata & Fugue in D minor, BWV565 [7:46]. Johann Sebastian BACH (1685-1750). The beginning and end of all music reger album. The Suite consists of three dance movements. 9 movements which are a total of about 7 minutes long. Piece: work for solo cello by Henze. Because Reger scholarship is a fairly recent development in America, it is necessary to view this work and the thrust of Anderson's scholarship in light of what others have written and are writing about Reger.
He died in Leipzig in May 1916 on his way back from a concert tour of the Netherlands. Perhaps most entertaining is the fourth and last part which presents Reger's "analyses"' of his own works written for the yearly festival of the Allgemeiner Deutsher Mttsibverern and later published in Die Musik. Stylistically it acknowledges 18th century dance forms before saluting the Tango of our own century. Although intended for a scholarly audience, this book can be appreciated by those with some prior biographical knowledge of Roger and familiarity with his music. The end of early music. But this assessment changed when Väth came into contact with Reger's later works, These later works also include the Acht geistliche Gesänge op. The recorded sound is also excellent which only serves to heighten the enjoyment of this performance. I assume this is because most of the CDs have previously released as single discs – they are actually in the order of recording, from 2014 to 2016. Many double and triple stops. He found a chair, took out his instrument, and began to play Johann Sebastian Bach's Cello Suites in front of the wall's ruins... Relive this emotional historical moment and discover the healing power of Bach's music by listening to the Suites on Vialma!
Berlin, November 9, 1989. In the Fantasia a rapid ppp opening section leads from. The first CD includes some of his most dramatic and mature symphonic pieces: the Fantasy and Fugue on BACH, Introduction and Passacaglia in D minor, Symphonic Fantasia and Fugue, and the Second Sonata in D minor. The three Solo Suites share a profound affinity with those of Bach but illustrate Reger's concern for gravity and intensity rather than a preoccupation with dance patterns. Name 1 Spanish composer of works for solo cello ca. The beginning and end of all music reger notes. Vialma, the streaming service for classical music and jazz, has carefully selected seven highlights from his extensive repertoire for you to discover. "O mighty love, o love without measure…" Deeply devout, Bach was particularly touched by the story of Jesus Christ's Passion. This is followed by the E major Kanon, a canon at the sixth between the two upper voices over a pedal accompaniment.
Regers technically demanding Fantasia and Fugue on B-A-C-H was written in 1900 and inscribed to Rheinberger. Those who know Reger's organ works are accustomed to seeing, from a distance, pages of music which look as if they are black – so many notes, dynamic markings and accidentals appear on every single page. It was first performed by Karl Straube at St Willibrords Cathedral in Wesel. The finale, with its stabbing accents and general air of sardonic humor, makes for a curt conclusion to a work which takes no hostages in its evoking of Baroque precedent. David Popper (1843–1913). The Twelve Pieces for Organ, Op.
It is also amazing that Reger, the contrapuntist, frequently employs blocklike insertions and larger melodic arcs, but the lets the setting remain simple. Ranging in date of original construction from 1862 to 1911, and mostly by Sauer or Walcker, they span Reger's lifetime and reflect the organs that he was playing and composing for. Zoltán Kodály: Sonata for solo cello (1915). 2 in F major, BWV 1047: III. Allegretto: Dissonant but playful gestures open the movement, and are juxtaposed by agitated dotted-rhythm double stops. It contains influences of Debussy and Bartók, as well as the inflections and nuances of Hungarian folk music. This piece was supposedly composed for Count Keyserlingk, who instructed Bach to write a work that his personal musician Goldberg would play to him during his frequent bouts of insomnia. He brought it to vivid life through music not just once, but twice, turning a few verses from the gospels into monumental 3-hour-long masterpieces, complete with orchestra and choir! Then by a slow movement which forms the centerpiece of the work in every respect, its high-flown eloquence and questing culmination setting the music on an altogether more elevated plane. They represent Regers first organ character pieces. 3 in G Major, BWV1048 [11:02].
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