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  A great revolutionist in his day, Max Reger
  became dissassociated from the revolution
  after the Great Coup of 1913–14. We present,
  first, a selection from among his choicest
  character pieces, Melodie & Humoreske
  (op. 82, nos. 4–5) from a collection entitled
  Aus meinem Tagebuch; second, his cycle
  of eight pieces entitled Episoden (op. 115);
  third, his magnum opus for the piano, the
  Variations and Fugue on a Theme by Bach
  (op. 81), for which Rudolf Serkin was a
  lifelong proponent; and finally, the
  Variations and Fugue on a Theme by
  Telemann (op. 134), which is a sort of
  sequel to the Bach Variations. (The Bach
  Variations are free phantasmagoria, while
  the Telemann-Variations preserve the
  harmony and phrasing of the original
  theme strictly and inviolably. The
  contrasting characters of these two
  works could almost serve to portray
  the contrasting characters of Bach and
  Telemann themselves, who, though
  far removed in their social circumstances,
  were good friends and colleagues
  nonetheless.) The Bach theme, by the way,
  is from the Cantata "Auf Christi Himmelfahrt
  allein," BWV 128, fourth movement; my
  selections from the Telemann Variations
  are nos. 1, 3, 10, 13–19, 23, and of course,
  the final fugue. ... more
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