Видео

Beautiful!

Dear Mr Tjabben, I'm searching for the other piece of Max Reger where he plays the Weinachten song at the end. I heard the end only once on radio. Do you know which piece (opus nr) that is?

That _"Morgen"_ with Diana Damrau is quite special.

This is very much an organ piece but written for piano. Beautiful, thick harmonic language. This is glorious. A perfect example of German Bombast at its best. It took me a very, very long time to understand Reger. Now that i do, i cant get enough.

Is there a way to read this dissertation and your master thesis that you mentioned? Reger is one of my favorite Composers! I'd be interested to read these Texts. Best Regards

German and English Text Io Triumphe! Heil dir, Cäsar, Imperator, Triumphator! Zwölf schneeweiße Rosse Neptuns führen dich hoch unter dem Schatten deiner Trophäen! Einst, wie deinen Siegeswagen heut begrüßt das Capitol, grüßt der fernsten Sonne Tagen deinen Ruhm von Pol zu Pol. Wir werfen den Kranz, und wir jauchzen dir zu, wir umjauchzen dich laut, der die Könige du, die gefangenen, bringst; sie folgen dir schon, an den Wagen geschirrt, Diademe zum Hohn um den Stolz der geknechteten Häupter. Sie schreiten einher nach zertrümmerter Macht, noch vom blutigen Staub der verlorenen Schlacht die Gewänder bespritzt, die Sandalen bestäubt und die Locken zerrauft und von Schmerzen betäubt, wie Schatten zum stygischen Eingang. Io Triumphe! Heil Legionen! Über den Erdkreis zogt ihr im Siegsschritt, Lorbeern euch und Bürgerkronen! Ihr bringt uns die Spolien wilder Britanner und von Ätolien fliegende Banner. Unter eurer Adler Flügeln kommen auf den sieben Hügeln Strömen gleich im Ozean aller Länder Götter an! - Hermann Lingg (1820-1905) ____________________________ Io, triumph! Hail, Caesar, imperial one, triumphant one! Twelve snow-white steeds of Neptune lead you upwards under the shadow of your trophies! Someday, as the Capitol today greets your victorious chariot, the dawning of the farthest sun shall greet your fame from pole to pole. We throw the wreath, and we hail you with rejoicing, we surround you with loud rejoicing, you who bring the kings, the prisoners; already they follow you, chained to the chariot, diadems for scorn around the pride of the subjugated heads. They pace along after their shattered power, their garments yet spattered with the bloody dust of the lost battle, their sandals dusty and their curly hair torn, dishevelled, numb with pain, like shades to the Stygian gateway. Io, triumph! Hail, legions! Over the world you travelled with victorious steps, laurels to you and the crowns of the citizens! You bring us the spoils of wild Britons, and flying banners from Aetolia. Under your eagles' wings, at the seven hills, like currents of the ocean, the gods of all lands arrive! - Translation: Sharon Krebs

Sensational.....BRAVI TUTTI......from Acapulco!

Die Stücke sind sehr schön und sehr anspruchsvoll, aber v. a. die ersten Tenöre tun einem leid, wenn sie ständig aufs hohe h müssen.

Благодарствую, спирачилЬ!

SO BEATIFUL!

Thank you very much for this score-video! My high-school singing teacher gave me this collection to break up all of the Bach I was learning; it was my first exposure to Reger, some of whose works I have come to love - the chromaticism of the first work intrigued me then, though I've never heard the complete set before. It's also interesting to hear different singers singing different songs, and also the difference between piano and organ. Many thanks again!

Fantastic playing. Awesome registration and an incredible sense of agogic. The Kyrie eleison is an extreme composition in fact of the huge crescendi and decrescendi over a small time. The benedictus is absolutley beautiful and played wonderful!!!

Wonderful!!

This was really fascinating! The contrast could not be more extreme. The combination of the Straube edition, the organist, and the organ was as good a demonstration of that hyper-interpreted style as could be imagined. It really seems like Bach from a different planet, but how beautiful and expressive! I can only imagine what my college organ professor of 40 years ago would have said if I brought something like that in to a lesson, lol!! It certainly goes to show that styles may change, but Bach is eternal and can survive anything! Thanks for going to the effort to put this fascinating document together. This will be assigned listening for my advanced organ students.

Amazing!

❤

Is that Beethoven's death mask in the thumbnail?

❤

❤

Danke für die Aufnahme dieser wunderbaren Orgelwerke 🙏

Wonderful Annrelies Burmeister, an underrated mezzo

Interesting how the Aria is citing Bach's popular Air from BWV 1068 in the first seconds!

This is excellent-thank you for sharing! I have been trying to locate a PDF of this 1913 Straube edition, would you be able to email a copy to me, please?

❤

❤

❤

great as always, the footnote in book 2/10 is absolutely hilarious!

Markus Becker ist wirklich ein phänomenaler reger interpret. da ist jede aufnahme eine wahre Freude.

Sehr beeindruckend!!

I've always wanted to hear this piece - thank you for tackling what looks to be a really difficult piece!

The melody right at the beginning is so charming. It sounds familiar

Tolle Aufnahme! Ich habe eine Frage: wie artikuliert man solche Orgelwerke. Was genau hat Reger mit den Bögen gemeint? Sollte man alles legato spielen? Grüße

Wanto write a fugue on R-E-G-E-R. Alson my wife's name, but she is Chinese so no letters to converto notes. Love the-minor fugue at 54:21 .

Vielen Dank für das Video. Ich bin sehr froh, das Werk einmal hören zu können, werde es danach vermutlich nie wieder hören und bin froh, dass es sich beim Uploader nicht um einen Chauvinisten handelt. Herzlichen Dank

WUNDERBAR! Und wie sich beide Instrumente ergänzen! ❤

Wie ist die Registrierung der Einleitung der ersten Kantate?

this guy is is actually my favorite composer, so underrated, i dont get it how someone can say its unlistenable chromatic slurge, its just fun as hell

very insightful analysis. reger is such a fascinating composer. definitely have to check out his concerto soon!

Great stuff! We need the same sort of close analysis of Franz Schmidt, too.

Succinct but fantastic analysis, which I hope will help some people attain new appreciation for Reger's music (especially for those repulsed by his "lack of melody"). I'd like to make one additional general comment on this movement and observe how Reger's humoreske style-particularly the duple scherzo variety-permeates through much of his music, even this piano concerto of momentous proportions. This style manifests itself most frequently in the piano music (20/1, 20/3, 25/2, 26/4, 36/1, 44/7, 45/2, 53/1, 53/7, 79a/1, 79a/2, 82/I/9, 82/II/5, 82/II/10, 82/III/6, 115/7, 115/8, 143/10), but you can find appearances of this style in the many other genres he wrote in, from the chamber works (49/2 clarinet sonata 2nd movement, 2nd piano quintet 2nd movement, 54/2 string quartet 1st movement, Op. 77a serenade 1st movement, Op. 107 clarinet sonata 2nd movement, Op. 141a serenade 1st movement), to the lieder (31/2, 31/6, 66/12, 70/10, 76/19, 76/36, 76/48, 76/58, 88/4, 98/2), to the longer variation works (Bach Variations var. 13, Hiller Variations vars. 3 and 4). For such an imposing and lofty work, it may seem unexpected that the humoreske creeps its way into the piano concerto; yet, it does in the third movement, albeit considerably beefed up and adorned with sumptuous. Nonetheless, despite the piano concerto's third movement being considerably more grandiose in scope than the solo piano humoreskes, both share many unmistakable gestures. You have already pointed out the similarity of one of the concerto's cells to that in the concluding piece of Op. 82's 2nd book, but I reckon you would be able to find several more examples of gestures shared between this movement and the other piano humoreskes. And although the sharing of this specific gesture may be coincidental, the overall stylistic similarities between the piano concerto's finale and the other humoreske works are not; all of these works are undoubtedly bound by a humorous style which pervades his music throughout different genres and different time periods, from the early Op. 20 humoreskes to the mature Träume am Kamin Op. 143. Happy 151st birthday to Max Reger.

Благодарствую, спирачилЬ!

Благодарствую, спирачилЬ!

Wow! Was für eine großartige Chaconne! Unglaublich, was Reger da geschrieben hat. Wunderbare Einspielung.

Bravo✨

Thank you! I knew #1 -- kudos on not rushing it. The last two are especially interesting. Great playing here and miniatures by our more boanergic composers are always intriguing. Do you know and love Vierne's Messe Basse op. 30?

Buongiorno, grazie per aver pubblicato questo video virgola dove posso trovare queste partiture? Grazie mille e buona giornata. Paolo

loose.. what?

Thank you. Bravo