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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.

lyrics

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.

credits

from MAX​-​REGER​-​ABEND, released September 4, 2015

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