CHAPTER IIT REGER Reger's use of chorales is so prodigious that no attempt will be made here to list the names of the Lutheran melodies he utilized in his works, Seventy-five different chorales appear in the organ works alone. Reger's 119 published movements for organ which employ chorales of course dwarf the output of Mendelssohn and Brahms in this genre. Most are published in collections such as the Fifty- sy Chorale Preludes, Op. 67, the thirteen Chorale Preludes ,Op. 79>, and the Thirty Short Chorale Preludes, Op. 130a, The remaining organ compositions based on choral- es or works in which chorales appear are eight miscellaneous chorale preludes published without opus number, seven chorale fantasias, the First Suite, Op. 16, the Second Sonata, Op. 60, and the Seven Organ Pieces, Op, 145. Regerts utilization of chorales in his other works is hardly less prolific. Though only one other instrumental ed, an extensive list of. vocal compositions exists. There are works of monumental proportions for chorus and orchestra such as Psalm 100, Op. 106, shorter choral works, like the Songs, Op. 144, for soloists, chorus and orchestra, and five chorale cantatas published without opus number, many 253254 simple vocal chorales for unaccompanied mixed chorus or women's chorus, and finally, several solo songs with organ or other keyboard accompaniment. The harmonized chorales for a cappella voices have presented a problem in the study, for they include settings of Christmas carols, possibly original melodies to old texts, old tunes set to new texts, hymns of other than Lutheran origin and melodies which cannot be traced in the sources at hand. For this reason, only authentic Lutheran chorales will be listed in the Appendix. Reger uses a number of chorales more than once in his works. Among his most favored melodies are "Ein" feste Burg . . .," "Herglich tut mich verlangen," "Nun danket + + 4)" "Auferstanden, auferstanden," "Es ist das Heil . . .," "Yom Hinmel hoch, . . «," "Has Gott tut, . . .," and “Wie schtn leuchtet . . .." Each is employed four or more times in his compositions. A. Instrumental Music Organ Works Compositions for organ form a large and significant part of Reger's works. A considerable segment of these compositions make use of Lutheran chorales. Most fall with- in the category of Choralbearbeitungen: the Chorale Fan- tasias on "Ein feste Burg ist unser Gott," Op. 275 "Freu dich sebr, o meine Seele," Op. 303 "Wie sch8n leucht"255 wis der Morgenstern," Op. 40, No. 1g "Straft mich nicht 4a deinem Zorn," Op. 40, No. 2f "Alle Menschen milssen sterben," Op. 52, No. 1g "Wachet auf! ruft uns die Stimme," Op. 52, No. 2g and "Hallelujat Gott zu loben bleibe meine Seelen- freud!," Op. 52, ‘Jo. 3, composed and published in the years 1898-1901; the Fifty-Two Easy Chorale Preludes, Op. 67, published in 1902, but most dating from the years 1890-1901; the thirteen chorale preludes which comprise Op. 79b, pub- lished in 1904, the Thirty Short Chorale Preludes, Op. 135a, published in 1915, a year before Regerts death, and eight additional chorale preludes, composed and published without opus number in German music journals between the years 1894 and 1909, Nine other movements not belonging to the category of organ choraies utilize Lutheran melodies: the second movement of the First Suite in E Minor, Op. 16, dat- ing from 1896, the second movement of the Second Sonata in D or, which appeared in 1902, and the Seven Organ Pieces, Op. 145, composed 1915-16 and published in 1916. In view of the large number of compositions for organ in which Reger used chorales, it seems advisable to limit their specific discussion and description to movements repre- sentative of his style. The chorale preludes will be ex- amined initially. A subsequent section will be devoted to the works in the second category. The Appendix will contain a complete listing of the individual movements with a tabula- tion of significant information relative to each.256 Chorale Preludes The organ chorales may be grouped under five headings: harmonized chorales, figural chorales, chorale canons, chorale fantasias, and finally, hybrid forms which feature over- lapping methods of treatment. Nearly all of the preludes of Op. 135a, eight of the Fifty-Two Easy Chorale Preludes, and several of the miscellaneous compositions published without opus number fall within the first group. Figural settings of chorales are most commonplace. The largest part of the Op. 67 compositions, almost all of the preludes of Op. 79b, and five of the miscellaneous movements come under this dis- tinction. Only four examples of chorale canons occur in Reger's preludes, one each in Op. 67 and Op. 135a, and two in Op. 79b. The hybrid forms are similarly small in number, three examples appearing in the Fifty-Two Easy Chorale Frely nudes and two in the Thirty Short Chorale Preludes. Two of the preludes without opus number were among Reger's first published compositions, the settings of "0 Traurigkeit, o Herzeleid" and "Kom, susser Tod." Both date from his intensive study of Bach's works with Hugo Reimann and his earliest affiliation with several German music peri- odicals. The first of these movements was published in the Allgemeine Musikzeitung, Volume XXI, No. 6, 1894. The second appeared in the Monthly Musical Record, Volume 24, April 1, 1894. Six preludes first published without opus257 number were later added either to the Op. 67 or Op. 79d collections. The chorale fantasias were the first compositions based on chorales to be published with opus numbers. Three were dedicated to the organ virtueso Karl Straube, one of Reger's earliest supporters and the musician responsible for the introduction of most of his large works for organ. The Fifty-Two Easy Chorale Preludes, Op. 67, is the largest and most important collection of Reger's Chorale- bearbeitungen for organ. As is the case with the Op. 135a set, they are settings of the chorales used most often in the Church. Harvey Grace finds "the collection as a whole, showing him [Reger7 at his best." Allan Bacon and Fritz Stein (in his biography of Reger) make more detailed observa- tions with regard to the collection. Bacon notes? « « . enormous disparity between the various pieces from the standpoint of sheer technical difficulty. .«. . Some of Reger's pieces are tenderly naive, flowing gently along. . + « Others are--well, for Karl Straube. Still others arg on the borderline between these extremes. Bacon's approach is primarily from an organist's viewpoint. tein, with reference to both the Op. 67 and Op. 79b, goes luarvey Grace, "The Late Max Reger as Organ Composer," The Times, LVII (1916), 284. 2s11an Bacon, "The Chorale Preludes of Max Reger," The Diapason, LIII (December, 1961), 40. ©258 a bit deeper. He observes that: In spite of their contrapuntal art and link with the motivic work of the old organ chorales, they represent no ad~ vancement in the depth of religious expression found in Bach's models. Many are merely workmanlike, but if a chorale rests on Reger's innermost religious convictions--such as "Aus tiefer Not,” "Herzlich tut mich verlangen" and "0' Welt ich muss dich lassen,"--thgn these preludes express pious emotion.. The thirteen Chorale Preludes, Op. 79b, are comparable in general style to the collection which precedes it. How- ever, none require virtuoso ability, The set contains two versions each of the chorales "Herr nun selbst den Wagen halt" and "Mit Fried'und Freud’. . ,." Most of the move~ ment® are of sma’] dimension and no new forms are evidenced. Grace surmises that they are "more worthy than anything else of his of being placed side by side with the "Little Organ Book’ of Bach." In conclusion, a few comments may be made concerning Reger's last efforts in this vein, the Thirty Short Chorale Preludes, Op. 135a. Bacon has likened the compositions of this final set to Bach's '371'.3 These are truly easy settings of chorales when compared with Reger's other prelud- 3¥ritez Stein, Max Reger (Potsdam, 1939), p. lll. ‘Grace, op. cit., p. 282. Sgacon, op. cit, p. 40.259 es. Four are notated on two Staves, three are for manuals ith pedals con libitum, and another is for manuals only. The settings are so basically homophonic, for the most part, that one may question their, being labeled chorale preludes. The Harmonized Chorale Regerts harmonized chorale settings for organ are understandably the easiest, most approachable of his chorale preludes, Many are disarmingly simple and almost invite comparison with a harmony student's exercises. Others, more elaborate, feature part-writing of a truly polyphonic nature and differ from figural settings only by the absence of clearly defined motives. . In general, the harmonized chorales are notated on three staves and are four-to five-voiced in texture. . The chorale melody, though most often placed in the soprano line, may also be found in the pedals or tenor or divided between several voices. Its treatment is uniformly simple and continuous with few exceptions. The settings of No. 33, "O Welt, ich muss dich lassen" and No. 37, "Straftmich nicht in deinem Zorn" of the Op. 67 preludes appear to be the sole examples. The lines of the first chorale are separated by single echos consisting of the concluding notes of the respective phrases®; the setting of "Straf! mich Szrahm's application of the same device in his setting of she same chorale, No. 11 of the Sleven Ghorale Preludes, Op. 122, is an interesting coincidence260 nicht . . -" concludes with the repetition of the final phrase an octave lower. Two examples, "Wie schon leucht't uns der Morgenstern" and "Allein Gott in der Hoh sei Ehr'," from the Thirty Short Chorale Preludes, Op. 135a, have been selected to illustrate Reger's approach to the genre. Thirty Short Chorale Preludes, Op. 135a " No. 29, "Wie schon leucht't uns der Morgenstern" This simple four-part harmonization of the chorale is notable for its avoidance of the stylistic mannerisms usu- ally attributed to Reger. The melody is in the soprano line; the lower parts are wholly subservient with a few pass- ing tones and suspensions indicated at various times in the alto and tenor, The tonality is D major. Modulations to the keys of A major and E minor occur in the course of the second phrase, and at the beginning of the fifth phrase respectively. The prevailing diatonic quality of the harmo- nization and general character of the movement is clearly demonstrated in the concluding phrase of the prelude which may be seen in Example 200.261 Ex, 200, Thirty Short Chorale Preludes, Op. 135a, No. 29, p. 26, mm. bee Etwas langsan No. 2, "Allein Gott in der H8h sei Ehrt" Reger's setting of "Allein Gott . . .” 4s cast froma different mold, one considerably removed from the probably conscious oversimplification of the previous movement. The tonality is G major with the keys of & minor and A minor employed to some degree in the inner phrases of the prelude. The melody is again in the uppermost part, but the setting is five-voiced and characterized by rapid harmonic change and frequent use of altered chords, an abundance and variety of nonharmonic tones with particular attention directed at suspensions, the presence of many fragments of melodic chromaticism in the supporting parts, and a rhythmic vital- ity, a "busy-ness", if you will, which permeates the entire movement. Each of these features is cited in the next ex- ample, the second phrase of the composition. Note the262 Baroque-inspired "walking" bass line, the melodic fluctua- tion in the alto line, measures four through six, followed by the chain of 9 suspensions, and, particularly the final three descending notes in thei same voice leading to the cadence. They represent almost a signature of Reger, for the notes appear at least once in every phrase of the chorale except one, Ex. 201. Thirty Short Chorale Preludes, Op. 135a, No. 2, Pa nn. pe SHOEE. Chorale Preludes, Op. , . Btwas bewegt 0+ The Figural Chorale ‘The many figural settings of chorales by Reger teatify to his preference for this mode of treatment, It is not surprising that they represent much of his best work. Sev eral types of overlapping distinctions may be made with re- gard to their classification. If we categorize them formally, a considerable number are continuous movementa, while a—— 263 larger group comes under the heading of extended chorales. A second distinction would separate the figural chorales according to cantus firmus treatment, for, in some the melody appears as Reger found it, in others there is oc~ casional melodic elaboration, and in still others the cantus is embellished to such a degree as to be unrecognizable. Finally, and most pertinently, the methods of figuration employed by Reger permit us to classify the movements in two additional ways. First, preludes are found in which there is little or no apparent figural connection with the chorale as opposed to others manifesting a clearly dis- cernible relationship. Second, there are movements featur- ing the predominant use of one accompanying figure or rhythmic pattern and its variants, while still others witness the use of several unrelated figures or completely contrasting figuration in conjunction with the setting of certain phrases, 7 Before a specific discussion and description of several of the most typical figural settings is undertaken it seems advisable to survey Reger's general procedures with refer- ence to form, texture, cantus firmus treatment and figural derivation and practice. It has already been stated that both continuous and extended forms are employed in the figural chorales. Brief introductions occur in a few of the continuous movements, and conversely, several of the extended chorales are ini-264, tiated without introduction. Various means of extension are utilized in order to increase the dimensions of move- ments, The phrases of the cantus firmus may be separated by short interludes featuring a continuation of the figura- tion, as in the setting of "Dir, dir, Jehovah, will ich singen!," Op, 67, No. 7, or characterized by the use of echo, as is the case in No. 35 of the same set, "Seelen- brautigam.” A third method consists of the repetition of entire phrases of the melody at the conclusion of the chorale proper. This technique is employed by Reger in three of the Op. 67 set: No. 17, Ich will dich lieben, meine Starke," No. 40, "Vom Himmel hoch, . . ." and No. Ab, "Was Gott tut, . . .," where the last four lines of the chorale are repeated in another voice following their normal conclusion. In general, the texture of the figural chorales is four- to five-voiced. However, the occasional addition of extra parts is not an uncommon practice, particularly in the closing phrases of movements. Two of the more technically demanding settings are marked by the extensive application of Freistimmig, "Jauchz, Erd*, und Himmel, jublet," Op. 67, No. 15, which will be discussed at some length later in this section, and "Sollt’ich meinem Gott nicht singen," Op. 67, No. 36. Reger’s treatment of the cantus firmus in the figural chorales ranges from the simple to the very complex. As265 was the case in the harmonized chorales, the melody is found most often in the soprano line, occurring with less frequency in the pedals, tenor or divided between the voices. For some reason Reger avoided placing the cantus in the alto part in his chorale preludes, with the exception of the fantasias. Reger's approach to his borrowed Lutheran melody was to use it literally, elaborate it slightly or transform it completely, A little elaboration of the cantus is ob- servable in the settings of Nos, 16 and 22 of the Op. 67 set and "Christus, der ist mein Leben," Op. 79b, Book II, No. 3. His technique in "Gott des Himmels und der Erden," Op. 67, No. 12, 4s to embellish the repeated phrases of the melody in réther florid fashion. Extending this practice further, only the initial line of the chorale is discernible in the following number of the set, "Herr, wie du willst, so schick's mit mir." Last, there are two movements from the same collection and one of the figural chorales published without opus number in which the melodies bear little if any relationship to the originals. This florid variation technique is utilized with similar effect in several of the fantasias. The essential observations to be made concerning Reger's figural writing are that a certain sameness marks his rhyth~ mic practices, that figural references to a chorale area crxeaaxan tata OS SND =e eerie SUSE 266 fcequently limited to the opening measures of a movement, that the restricted use of a single motive or rhythmic figure is exceptional, and that free rather than imitative counterpoint is the composer's preferred means of expression. Regerts frequent manner of beginning a figural chorale is to precede the first phrase of the cantus firmus with imitative references to a motive, often in stretto, derived from the line in diminution or based on a freely invented motive or subject. The consistency of this practice may be better realised when it is understood that onl; one move- ment from the initial book of preludes, Op. 67, Nos. 1-15, igs not so introduced. When this technique is applied to one or more additional phrases of a chorale, as, for ex- ample, in the settings of the first and fourth of the Fifty- Two Easy Chorale Preludes, "Allein Gott im der HOht . . ." and "Aus meines Herzens Grunde," the form of the chorale motet is approached. The setting of "Christ ist erstanden . . .JOP+ 9b, Book II, No. 3, 4s in fact, a chorale motet in embryo, for each phrase of the cantus firmus is accorded this treatment. Only the brevity of the introduction and interludes prevents the movement from being 80 labeled. Although Reger generally drops figural references to a chorale after a few introductory measures, fragments or entire lines of subsequent phrases occasionally appear in imitative counterpoint against the chorale proper, This technique is more noticeable in conjunction with the con-267 cluding line of a melody. The aforementioned figural chorale, “Ich will dich lieben, . . .," Op. 67, No. 17, provides a notable example. The closing phrase is stated three times in the final measures, It occurs first in the pedals; a second statement in the soprano line doubled at the octave dovetails this and is followed by another repetition of the phrase in close stretto imitation in the upper pedal part. These measures may be seen in Example 202.268 Ex, 202. Fifty—Two Easy Chorale Preludes, Op. 67, No. 17, pe 5, mn. 8-12, _ Sehr bewegt ~ia 4 ]269 One of the chief criticisms that have been directed at Reger is his inclination to initiate a promising motive or subject, dabble with it a moment or two and then dis- miss it entirely for the remainder of a composition.” While this is more pertinent to the larger movements for organ, such as the fantasias and the pieces from Op. 145, examples of its practice are present in the chorale preludes, © Several of the Op. 67 and Op. 79b compositions manifest this tendency. The setting of "Dir, dir, Jehovah, . . .,” Op. 67, No. 7, 4s perhaps the most striking example. A terse but commanding subject beginning with the downward leap of a minor seventh and totally unrelated to the chorale is announced in the pedals and then taken up quickly by the tenor and alto in turn, At the close of the second measure the chorale is introduced and the fugal idea abruptly dropped. The introductory measures of the movement are shown in Example 203. Torace, op. cit., p. 283+270 Ex, 203. Fifty-Twe Easy Chorale Preludes, Op. 67, No. 7, p. 12, mi. 1-3. oudig bewegt (Lebhaft) Reger's three approaches in the treatment of figur- ation have been mentioned previously. Appropriate move- ments from the Fifty-Two Easy Chorale Preludes have been selected to illustrate not only these procedures, but also to demonstrate his cantus firmus techniques, rhythmic prac- tices, and additional elements peculiar to his style. Curiously, the movements contain little of the melodic chromaticism that was noted in some of the harmonized chorales, Fifty-Two Easy Chorale Preludes, Op. 67,No. 15. "Jauchz, Erd', und Himmel, jublet" In this composition, Reger confines himself to continu- ous sextuplet figuration. Thé movement, in the key of D major and notated in 4/4 meter, is to be played as fast asan possible. Bacon has aptly called it a "tour de force of manual (digital)-dexterity."® The Prelude begins with a two-measure introduction, shown in Example 20h, featuring two statements of a subject derived from the first and second phrases of the chorale in diminution. The imitation is at the lower fourth. Ex, 204. Fifty-Two Easy Chorale Preludes, Op. 67, No. 15, p. 28, mm. l-2. vss | cbhafr The chorale proper enters in the pedals, measure three. The free omission from and the addition of voices to the Spacon, op. cit., LIII (February, 1962), 31.272 polyphonic texture of the movement, a practice mentioned earlier, is observable in the setting of the first phrase of the chorale, which may be seen in Example 205. ‘The chordal suspension at the penultimate note of the line, measure four, a frequent phenomenon in the composition, is the focal point in the accumilation of voices. Bx. 205. ‘Two Easy Chorale Preludes, Op. 67, No. 15, P. 28, tae ee , 4d a a es lz oe a 2 A brief interlude separates the first and second phrases. Tne entire section, including the introduction, is then273 repeated. Interludes of similar content, that is to say, continuing figuration, occur between the remaining lines of the chorale. The fifth and sixth phrases are identical melodically, Both are initiated in the tonic key and re- Solved with modulations to the dominant, The interlude which follows the sixth phrase witnesses a return to the tonality of D major and forecasts the next phrase by means of imitative references to the line in diminution, as shown in Example 206. Bx. 206. Eifty-Two Easy Chorale Preludes, Op. 67, los 15, p. 30, m 5. ‘The eighth and ninth phrases of the chorale are in the keys of E minor and A major, respectively. The tonic key is restored with the tenth and final phrase of the cantus, Double pedals are called for at this point, a practice noted in other figural chorales where the melody is given to the lowest voice. The final note is reinforced on the manuals at the close of the movement and sustained through a concluding measure of figuration.27h Aside from the introduction and aforementioned inter- lude following the sixth phrase, there is no significant use of imitative counterpoint in Reger's setting. In its stead, the composer's efforts seem to be directed at achiev- ing variety in the melodic contours of the figuration. Se- quential passages occur in several places. One melodie form that is introduced early in the Prelude appears to receive the greatest attention in this respect. It is accorded brief sequential treatment in a few passages. Finally, in conjunction with the last phrase of the movement, shown in Example 207, it becomes the sole means of figuration, appear- ing in the tenor line above the cantus firmus. The extended sequential treatment of this figure is most expressive.275 +207. Pifty-Two Easy Chorale Preludes, Op. 7 pe 31, mm. 7-10, ee =] No. 5. "Christus, der ist mein Leben” This movement, among the shortest of the chorale pre- ludes, is demonstrative of Reger's florid cantus firmus treatment and his simultaneous use of more than one type of accompanimental figuration, The Prelude is in E-flat major and in common meter as in the previous composition. It begins in similar fashion with a brief imitative intro- duction based on the first phrase of the chorale. This is apparently the only figural reference to the chorale. The276 melody, which may be seen as a free variation”on the chorale, enters in the soprano line at the conclusion of the intro- duction, and at first does not go too far afield. Compare the initial phrase of the chorale with Reger's version, shown in’ Examples 208 and 209. Ex. 208. Sx. ,209. Eigty-Two Easy Chorale Preludes, Op. 67, No. 5, p. 8, mm. 1-3, Sehr langsag. tn. Greater coloration of the cantus takes place in the remain- ing three phrases, but the tune can none the less be sifted out of the sometimes quite elaborate maze of notes which surround it. There is undoubtedly more of a kinship with Bach in this movement than in the last. The harmonic idiom, the rhythmic practices, the strict adherence to four-part writ- ing and the whole aural and even visual effect of the music reminds us of the older master. Apart froma brief reference’ to B-flat major which occurs at the close of what would nor- mally be the third phrase of the chorale, the tonality wavers between the key of E-flat major and that of its relative minor.277 Numerous figures are employed in tne accompaniment in combination, with none given preferential treatment and little use of sequence and imitative counterpoint evidenced. This wealth of figuration, understandably, does not contribute to a clearer enunciation of the melody, already burdened with decorative elements of its own. The passage leading up to and including the final cadence, shown in Example 210, is typical. The cadence formula emphasizing the use of the lowered sixth scale degree in major is a favorite of Reger.278 Ex. 210, Bigey-Ivo Easy Chorale Preludes, Op. 67, No. 5, p. 8, mm No. 21. "Jesu, meine Freude" - In this composition, the simplest of the three move- nents under investigation, rhythmic figuration in contrast to that used in the initial three phrases is employed in their repetition and a third type emphasized in the remain- ing three lines of the chorale. The texture is uniformly four-voiced as in the previous movement. The key is D minor and the meter signature again 4/4. The cantus firmus is279 entrusted to the tenor here and its treatment is simple and continuous. It is introduced immediately in the composition, supported by a distinctive figure in the soprano that is doubled a tenth below in the pedals. The beginning of the Prelude may be seen in Example 211, ety See ee Easy Chorale Preludes, Op. 67, No. 21, Ziewlich lengsan ‘The figure cited above is not retained in its exact form following the. initial measure. Instead, several variants are explored during the remainder of the phrase and the next two lines of the chorale. Reger seldom omits the pedals for very long in his organ works. Here, however, he chooses to do so in the ‘statement of the second part of the fourth, most of the fifth, all of the seventh and a portion of the eighth phrase of the melody. At the close of the third line of the chorale Reger switches abruptly to figuration in triplet rhythm which is sustained throughout the fourth, fifth and six phrases, The280 rhythmic pattern is unrelated to the previous one and its variants, but a closer examination reveals an intervallic connection, The triplet figure assumes several different melodie forms, but a relationship with the earlier figura- tion is not difficult to discover. Compare the setting of the sixth phrase, shown in Example 212, with the opening of the first, which was cited in Example 211. Ex. 212, Fifty-Two Easy Chorale Preludes, Op. 67, No. 21, pe ll, mm. 3-4. A different rhythmic expression of the same melodic germ appears in the setting of the final three phrases of the cantus. It is introduced in measure twelve overlapping the closing note of the sixth phrase, the melody entering in the succeeding bar. The figure occurs in both ascending and descending progressions, as is the case with its earlier usage. The beginning of the section may be seen in Example 213.281 Ex. 213. Fifty-Two Easy Chorale Preludes, Op. 67, No. 21, pe ll, mm. 4-5 oo The phrase initiated in the example above closes with a modulation to the key of the relative major. There is a return to the tonic key in the course of the eighth phrase followed by another alternation of the two keys in the setting of the last line of the chorale. A touch of famil- jar melodic chromaticism is added at the cadence, shown in Example 214, as if Reger wished to put an identifying stamp on the movement, Ex. 214. Pifty-Two Easy Chorale Preludes, Op. 67, No. 21, p. ll, m il. _—_282 The figural practice in this prelude représents no departure from that which was evidenced in No. 15. At first glance, there would seem to be less organic unity. However, the emphasis placed upon a different rhythmic projection of the same figure in each of the three broad sections of the movement does appear to ‘provide both variety and cohesive- ness. This sectional use of the principle of variation is interesting to observe, for Reger does not employ it too often. In the discussion of the chorale fantasias the matter will be raised again. The Chorale Canon Reger's four examples of chorale canons in the preludes are unpretentious little movements, differing essentially from the simpler chorale harmonizations and figural settings only in the canonic treatment of the cantus firmus. Three, in fact, employ a figural or semi-figural accompaniment to the canon. A four-voiced texture is used and the chorale is continuous in each. The melody is not introduced immed- ately in one of the movements, the setting of "Warum sollt ich mich denn grdmen?," the last of the Op. 79b preludes. Here, the familiar type of imitative introduction based on the initial phrase of the chorale precedes the entrance of the cantus. The technique of mirror inversion is applied to the imitation of the motive in this instance. The intro- duction and first section of the movement may be seen in283 Example 215. Bx, 215. Ghorale Preludes, Op. 79b, Bk II, Wo. 7, py Ll, mm. 1-6; Bevogt In each of the movements the canon is between the so- yrano and pedals. The interval of imitation is the octave in "Jesus ist kommen," Op. 67, No. 51, the tenth in "Warum sollt ich mich denn grdmen?" and in No. 15 of the Thirty Short Chorale Preludes, "Lobe den Herren, den machtigen Konig der Ehren," and the eleventh in Op. 79, Book II, No. 6, “Herr, nun selbst den Wagen halt."284 The pedals initiate the canon one pulsation after the entry of the chorale in the first named prelude, a measure later in each of the others, The imitative counterpoint is almost uniformly strict until the final phrases in "Jesus ist kommen" and "Herr, nun selbst . . .." The canon is dropped midway through the second line of the melody in the setting of "Warum sollt ich mich denn grdmen?." A resumption of the canon at the beginning of the sixth phrase, shown in Example 216, is suggested, but the imitation is broken off a measure later with the statement of the eighth and final line of the chorale. Ex. 216. Preludes, Op. 79>, Bk. II, No. 7, ps ll, nm, 14-15 The technique of canon is applied to only portions of the lines of "Lobe den Herren, . . .."” An interesting feature of this movement is that the inner homophonic parts simulate the ascending stepwise motion of the final phrase of the melo- dy at the beginning of each phrase except the last. Note this285 practice in the opening of the movement, shown in Example 217. pei PT; pe Short Shorale Preludes, Op. 135a, No. 15, ‘Lebhegt The motion of the inner parts is fittingly reversed in the first bars of the closing line, shown in Example 218, where the melody itself marches upward. Ex, 218. Zaigty Shore Chorale Preludes, Op. 135a, No. 15, p. 15, my 18-1 rr Im concluding this discussion, it might be pointed out that the composer's most effective use of the device of canon occurs within larger movements ag one of several kinds of featured techniques. A composition written largely or wholly in canonic style is frequently apt to be more an286 intellectual exercise than a piece of musical worth. Brahms and Reger were apparently fascinated by canonie writing, but neither man is particularly remembered for this facet of his style. The Hybrid Forms There appear to be three distinct types of chorale preludes in which an overlapping of techniques is ob- servable: one, movements featuring both figural and purely homophonie writing; two, another category in which phrases of the chorale are repeated responsorially in solo-chorus fashion; and three, a type combining imitative elements and the style of the harmonized chorale. Three preludes of the Op, 67 collection come under the first heading. One example each of the second and third categories occurs in the Thirty Short Chorale Preludes. ‘The movements of the first type all have in common the procedure of figural treatment of some phrases and homophonic settings of others, The device of echo is important in two of these compositions, Op. 67, No. 38, "Valet will ich dir geben," and No. 39, "Vater unser, im Himmelreich." In the first movement five of the eight phrases of the chorale are followed by complete restatements in mirror inversion. The setting of each of the phrases proper is figural; the inverted statements are delineated in a simple homophonic manner.287 The initial phrase and its inverted counterpart, which may be seen in Example 219, illustrate Reger's procedure. + 219. Piftv-Two Zasv Ghorale Preludes, Op. 67, No. Pe 6, ma. Tre nate Shorale eee Bowegt cr cee Repetition is accorded every phrase of "Vater unser + +s" There is not so great a distinction in treatment here as in the former composition and no use of mirror inversion is evidenced. The line is merely repeated and doubled an octave higher, without pedal as before, until the closing phrase. The statement of the first phrase and its repeti- tion, shown in Example 220, demonstrate Reger's approach.ate Be, 220. EigtyeTuo Easy Chorale Ereludes, Op. 67, No. 39, p. 8, ma. 1-4, ‘Zienbich langsam (doch nicht schleppend) —— (" In the remaining example from Op. 67, an earlier setting of “Warum sollt ich mich denn grdmen?," the repetition of the first section of the melody, phrases five through eight, appears in a simple harmonized chorale setting. The figura- tion employed previously is resumed at its close. The two movements of the Thirty Short Chorale Preludes both utilize the technique of echo, but the approach in the setting of the chorale, though correspondingly “simple, isEE TTT 289 individual in treatment. In the setting of No. 4, "Aus tiefer Not . . .," each line, except for the repetition of the first and second, occurs first in a solo statement and then in a chordal setting with the melody an ovtave higher. This kind of responsorial writing appears earlier in the second movement of the First Suite, Op. 16, and will be referred to in a subsequent section. The practice in "Aus tiefer Not . . ." may be surmised from the passage shown in Example 221. Note the free mirror inversion of the phrase in the pedals in the harmonized setting, measures two through four. ty Short Chorale Preludes, Op. 135a, No. 4, Im the other movement from Op. 135a, "0 Haupt voll Blut und Wunden," Reger applies the techniques of echo, imitation in stretto, and mirror inversion, as well as homophonic composition, to the chorale. There is condensed imitativeNT. ————eEe 290 treatment of the first half of the melody with each phrase succeeded by a similar statement in mirror inversion. The second half of the chorale is not so markedly imitative, but there is enough suggestion of imitation coupled with the continued repetition of the phrases in mirror inversion to consider it as complementary to the first. Double echos o¢cur in conjunction with the final line of the chorale. The statement of the phrase is followed by its nirror inversion and a closing reference to the last four notes of the inverted line. These measures may be seen in Example 222. Ex. 222, Thirty Short Chorale Preludes, Op. 135a, No. 21, p+ 20, mms 25-29, Langsan The Chorale Fantasias It was said earlier that Reger's seven monumental chorale fantasias represent a compendium of his compositional techniques for organ. Every facet of his style from simple homophonic writing to complex polyphony is manifested. The291 works should more properly be deemed variations, for several feature Little or no writing of an improvisatory nature and Statements of the chorale follow one another in a more or less continuous sequence. The more extravagant and "bravura" of the fantasias also utilize the principle of variation, be are compositions characterized by sudden, often violent contrasts requiring an astonishing degree of manual and pedal dexterity, set, at least in part, in the extremely chromatic idiom of the latter Nineteenth Century Post- Romanticists and calling for the utmost resources of the 2. Romantic organ”, Ligzt was obviously one of Reger's guiding mentors in these works. A subsequent section will have more to say with regard to his influence upon the younger composer. en the fantasias are examined at close hand, it is not difficult to view Reger's practices as an attempt to do for the organ what proponents of the Wagner-Lisat tradi- tion were writing orchestrally. Support for this thesis is readily available in the fantasias, for, there is minute 9Bacon, op. cit., LIII (December, 1961), 40, relates that a kind’ of “battle of wits" existed between Reger and Karl Straube, It seems the composer was so impressed by the organ virtuoso that he determined to write music for him which was unplayable. The dual, it seems, lasted for several years with Straube the ultimate victor.292 attention to details regarding their performance. Gradations of tempo and dynamic shadings are innumerable and explicit and the registration (Reger's substitute for the tonal palette of the orchestra) never in doubt. Neither of these factors is spelled owt in the other chorale preludes. In addition, consider the demands placed on resources and technical prowess. Many passages seem to require an extra hand and foot. No less than thirteen parts are dis- cernible in some of the massive chordal passages with as many as three lines devoted to the pedals. This multiple doubling of chord members, of course, has its counterpart in the orchestra. The pyrotechnics of some Post-Romantic orchestral music is duplicated on the organ in many passages requiring a formidable technique. The pedal writing, in particular, is sometimes phenomenally difficult. The feet are rarely still and are called upon to perform in every conceivable manner: rapid cadenza-like sequences of sixteenth-notes, eratic leaps of as much as two octaves, frequent use of double pedals featuring both parallel move- ment and independent part writing, and various types of ornaments including successive trills. The affinity of the fantasias with the Post-Romanticists is further attested to by their advanced chromatic idiom and use of tone painting. German academicians have made a fetish of Reger's real or imagined religious mysticism in293 the: > search for symbolic meaning in his music. However, there appears to be evidence of the use of leitmotifs, and the fact that in some of the fantasias every stanza of the chorale is accorded a variation while in others one stanza or more is omitted gives credance to the belief that he was indeed attempting to portray words musically. It does not seem particularly worthwhile to pursue these questions in depth in this study. Hugo Rahner devotes considerable space in his mono- en fur die Orgel to a orebears of Reger's fantasias. if: graph Max Reger's Ch discussion of the st; The contributions of Bach, iendelssohn, Rheinberger, Lizst and Wagner figure in this discussion, The organ chorales of Bach, through heir musical interpretation of the text, and as models for cantus firmus settings, are edecessors.10 Several pages seen as the first musical y later Rahner summarizes his comments regarding the second composer's influence by saying, "Mendelssohn's significance in the line of development leading to Reger's chorale fan- vasias, lies in his efforts directed toward a greater con- certed organ form . ...."41 It would seem appropriate to add 10kugo Rahner, Max Reger's.Choralfantasien filr die Orgel ao dhDULULL ears Yop. cits, p. 20.29h, that Reger is also somewhat indebted to Mendelssohn for ex- panding the whole concept of organ composition, for removing it from the confines of strict Kirchenmusik and bringing iv into the concert hall. The Sixth Sonata, Op, 65, especial- ly, would almost appear to point the way, Of course, this work does not compare with the technical difficulty of Reger's fantasias, but it and the other Sonatas did break new ground in demands placed upoi the performer and paved the way for a more "expressive" kind of writing for the instrument. Reger combines fugue and chorale in the closing varia~ tions of three of the fantasias, It will be remembered that both Mendelssohn and Brahms anticipate this in organ compositions. Rheinberger also employs the technique, in the last movement of his Organ Sonata, Op. 88, the Pastoral another composition referred to as a stylistic forebear of the chorale fantasias by Rahner.12 Lieat and Wagner, as Reger*s older contemporaries, are closest to his idiom. However, Rahner, in his little volume, does not discuss the specific harmonic techniques of these men or their influence upon Reger's style. The German writer feels that the significance of Lizst's org: music in the path of development leading to Reger's fantasias lies in the "free development of subjective ex-295 pression."*3 Two examples of programmatic variations for gan by Ligtt are discussed in the section with particular attention directed at the Fantasia and Fugue on "Adnos, ad salutarem undan," composed between 1850-51, for the close of the Fugue, it appears, is crowned with the Latin hymn, In the section relative to Wagner, Rahner!4 45 absorbed with Regerts adaptation of the principle of the leitmotif and yefers to examples in the fantasias. Mention of this will be made when the movenents are discussed individually. It seems desirable to discuss not only the common stylistic elements found in the fantasias, but to point out at least a few of the singular qualities of each. When the elements which the fantasias have in common are considered, a number of observations may be made. Apel defines the chorale fantasia as "an organ composition in which a chorale melody is treated in the free manner of a fantasia or even an improvisation."15 Reger's fantasias are, in fact, large scale examples of chorale variations. The principle of melodic variation is used to some extent in five of the compositions, but it would be more nearly correct to apply tue term cantus firms variation to most of the settings of the chorale within each of the Boe, git. Lon L5yi114 Apel, "Chorale Fantasia," Harvard Dictionary of Music, bl. cite, pe 2h.296 fantasias. When the nelody itself is altered, Reger's procedures are in line with what was seen in the fifth of the Fifty-Two Easy Chorale Preludes which was discussed pre- viously. There appears to be little or no middle ground in his treatment of the cantus, It is either stated liter~ ally or assumes a wholly new character by means of free melodic variation. In the main, Reger's techniques are an expansion of those which were employed by Mendelssohn in the Sixth Organ Sonata. The chief means of variation are those of texture, tenpo, registration and figural setting. What distinguishes them from Mendelssohn's practices in the Sonata is their substantially expanded harmonic language and degree of technical difficulty, their greater range of emotional expression, and, most significantly, their inclusion of free rhapsodic elements. Mendelssohn's composition consists of a simple harmonized statement of the chorale followed by @ set of continuous variations, Reger in no case begins a fantasia in this manner and in only one movement, the Fentasia on "Halleluja! Gott zu loben bleibe meine Seelen- freud," Op, 52, No. 3, 4s he inclined to write a set of nearly continuous variations. Reger's treatment in the individual variations of the fantasias, while occasionally somewhat more elaborate, is essentially little different from his practices in the other chorale preludes. One may point to the concluding variations297 of Op. 40, No. 1, and Op. 52, Nos. 2 and 3 as the most out- standing examples, for here are found fully developed fugues, a type of Choralbearbeitung confined to the fantasias. It is in the free sections of these compositions that a "new" Reger is discovered, and also where the clearest evidence of Sturm und Drang and the influence of Lizst and Wagner are found. Five of the seven fantasias are initiated with long or relatively long introductions consisting of several greatly contrasting sections which are frequently unrelated to each other or to the chorale. Some of this quality is typical of interludial writing and the settings of certain variations also. The Fantasia on "Alle Menschen mussen sterben," Op. 52, No. 1, seems particularly remarkable in these respects and examples will be cited later. It has been said that Reger's methods of variation are chiefly distinctions in texture, tempo, registration and figuration. As there will be ample demonstration of these and other elements later in a detailed analysis of the last fantasia, "Hallelujat Gott zu loben . « «," Op. 52, No. 3, let us now procede to a discussion of some of the individual characteristics of each of the fantasias. A number of additional comments might precede this. For instance, a considerable space could be devoted to Reger's treatment of the pedals, contrapuntal techniques, modulatory procedures and methods of chord progression, advanced chromatic idiom and use of ornaments, dynamics and the derivation of figures298 and motives, ete. Here also, it seems best to confine the discussion primarily to a single composition. However, important elements of his style which are absent or sparsely employed in the setting of “Hallelujal Gott zu loben. . .” will not be ignored. Reger's first fantasia, the Fantasia on "Eint feste Burg . . .," Op. 27, 4s, along with the aforementioned work, an example of the composer's most direct, simplest (for the fantasias), and certainly most conservative formal and harmonic style. Rahner feels that "Bach's model is still predominant,"16 adding later that "chord progressions are based on cadential relationships and chromaticism is absent ."17 Reger's setting of the first and second variations is deserving of special comment, for the interludial material consists of the expression of the successive phrases of the chorale in another tonality, a procedure certainly not typical of Bach. The first example of this practice occurs at the conclusion of the second phrase of the initial state- ment of the chorale. Continuous sixteenth-notes in the pedal, based on a short cadenza-like solo passage which introduces the composition, and a similarly derived line in the soprano accompany the chorale phrase. The tonality is D major. At its close the pedal figuration, progressing downward in thirds l6gahner, op. cit., pe 27. © Yop, git., p» 28.299 by sequence, culminates with a b-flat and the presentation of the first phrase of the chorale in the key of B-flat major a massive chordal setting. The statement closes with a modulation to the key of F major. The pedal figuration is then resumed, with the return to the tonality of D major accomplished in the manner of its departure. The second phrase of the chorale, the interlude, and the beginning of the third phrase may be Seen in Example 223.eee 300 W, Ba. 15, Op. 27, pp. 74-75, mms 8-12/13-18. vivace (ma pomposo) , Ex.301 The figural and chordal statements of the chorale are co- related so that the final phrase of the version in B-flat major is succeeded by the last two phrases in the second figural setting of the chorale in the key of D major. The transition from the one key to the’ other, shown in Example 22h, is more abrupt in this instance. Ex. 224. RW, Bd. 15, p. 79, mm. 86-90. a Meno mosso The third variation may be cited for two reasons, for it manifests the first example of Reger's independent writing for double pedals and obvious use of word painting. The302 former occurs in the setting of the first two phrases of the variation, with the melody placed in the upper pedal part against a pattern of continuous eighth-notes in the lower pedal line and sixteenth-note arpeggios on the manuals. The beginning of the variation, shown in Example 225, would appear to be an excellent example of Fux's third-species counterpoint. Ex. 225. RW, Bd. 15, p. 80, mm, 1OL-2. Avesi tempo grimo The example of text painting occurs in the setting of the final phrase of the chorale in the variation. In the concluding line of Luther's stanza, “ein Wortlein kann ihn filien" ("A single word confounds him")18, Reger depicts the felling of the host of evil with downward leaps of the octave in the pedals. The beginning of the line may be seen in Example 226. l8cnaries S. Terry, Bach's Chorals (Cambridge, 1921), III, 514. a303 » Bd. 15, p. 83, mm, 129-30, Finally, mention may be made of Reger's more extended treatment of the fourth and final variation of "Ein' feste Burg. . .." It is customary for Reger to deal more exten- sively with the concluding variation in his fantasias, either by the use of fugue, as is the case in three of the composi- tions, or other means of formal extension. In this instance he manipulates fragments of the tune in diminution and stretto imitation, repeats segments of phrases or entire phrases in or out of sequence, and inserts passages stemming from the introduction at various intervals. The passage shown in Example 227 is indicative of his procedures.304, Ex. 227, RW, Bd. 15, p. 85, mm. 156-59. 4 ) eee = The second of the fantasias, the Fantasia on "Freu dich sehr, 0 meine Seele," Op. 30, is the first to manifest the longer introduction and to exhibit what Rahner calls a “striving for formal unification.")9 There is little if any figural reference to the chorale, as is the case in all of the fantasias, However, there is evidence that Reger was aiming at more than a mere stringing together of variations WRahner, op. cit., pe 42.305 on the chorale. The chief expression of this is his reference to a theme, shown in Example 228, which first appears as the subject of a fughetta in the closing section of the intro- duction, in the interludes between each variation on the chorale. Ex. 228. RW, Bd. 15, pp. 103-104, mm. 19/20-21. The Fantasia on "Freu dich sehr . . ." is also the first of these compositions to display rhapsodic, improvisatory elements (which some would say are carried to excess in several subsequent movements), the free melodic variation of the chorale, and the only one in which Reger employed key contrast as a significant factor in his variation technique. However, this last’ statement should be qualified, for the basic key relationship between the variations is F major and its relative minor. Reger could and did stretch tonal boundaries within the individual variations, sometimes to the limits, but the central tonality remained unshakeable.306 The third, fourth and fifth variations of "Freu dich sehr . . +" are excellent examples of this. At first glance the first two are set in what appears to be the key of B-flat minor. However, a closer examination reveals the actual tonality to be F major. The mixed major-minor feeling in the two variations can be analysed in terms of altered chords, secondary dominants, or as an extension of Piston's concept of the secondary dominant. The opening bars of the third variation, which may be seen in Example 229, 411us- trate Reger's techniques.307 Ex. 229. RW, Bd. 15, p. 109, mm. 78-79. Allegro vivace The same variation also serves to demonstrate one of Reger's most vivid examples of the use of two or more contrasting types of figuration in the setting of the various lines of the chorale. The first two phrases are set in the manner shown in the example above. The next two, a repetition of the same lines of the cantus, receive the type of treat- ment shown in Example 230.308 Ex. 230. RW, Bd. 15, p. 109, m. 82. The fifth and sixth phrases are accorded the Find of setting shown in Example 231. W, Bd. 15, p. 110, m 86. Finally, the last two lines, phrases seven and eight, manifest still a different type of treatment. The initial measure of the seventh phrase may be seen in Example 232.309 Ex. 232. Bd. 15, p. 111, m. 90. The technique in the fifth variation of the movement, in the key of D minor, is one of melodic rather than harmonic extension. The melody itself is a free variation on the chorale tune. Both the melody and the figural accompani- ment are marked by considerable chromaticism of the kind shown in Example 233.310 The device of canon is a popular one with Reger in the closing sections of the larger organ pieces. The first four phrases of the final variation on "Freu dich sehr. . .” are accorded this treatment. In this instance, the canon is ‘between the soprano and pedals at the interval of the octave. The pedals are supported an octave higher by. the alto in the first phrase. The beginning of the section may be seen in Example 234.31 EX. 234. RW, Ba. 15, p- 117, mm. 160-61. Allegro maestoso “LI Ee cr The Fantasia on "Wie schon leucht' uns der Morgenstern," Op. 40, No. 1, 4s the first to combine fugue and chorale. Rahner finds an "increasing strength of the stylistic ele- ments of the Nineteenth Century in the formation of harmony"@°in the Op. 40 works, undoubtedly referring to such passages as the following measures from the introduction, shown in. Example 235. op, cite, Pe 27.312 » Bd. 15, p. 14h, mm. 8-9. Pesonte 4 certain mystery surrounds the third variation of the chorale and the first six phrases of the fourth variation in the Samtliche Werke, Band 15, pp. 151-60, for two settings for this portion of the Fantasia, one beneath the other, are to be found in the volun . An examination of the Revisions~ bericht to the volume revealed no comments regarding this ‘ticular composition. Then, a check of the original edition of the work, published in 1900 by Joseph Aibl, was made. Only one version, the upper setting of the chorale in these measures, was indicated. The reason for this optional version in the Samtliche jierke may be that workers in the Max Reger Institute in Bi an, having access to Reger's com- plete works, discovered the alternate (and somewhat simpler) setting among his papers. No other explanation seems plaus~ ible. The fugues which close three of the fantasias are tonal fugues featuring extended subjects unrelated to the313 respective chorales. In ouch case, the entrance of the horale is delayed until the middle or closing section of the fugue, where it is sucrimposed against the several polyphonic lines. In all three, the chorale is announced in the’ pedals and coincides with a statement of the fugue ubject in the tonic key. Ia the setting of "Wie schon leucht' . . ." the first vyo lines of the chorale and the subject are of equal dimeasions, The beginning of the Section may be seen in e 236, the fugue subject appearing in the soprano 2 Ex, 236. RW, Bd. 15, p. 14 Allegro vivace 151-53. rc Rahner,* in referring to Reger's adaptation of the principle of the leitmotif, mentions the next of the fantasias, the Fantasia on "Straftmich nicht in deinem Zorn, 1” mussen sterben," Op. 52, No. 1, im particular. The use of Op. 40, No. 2, and the Fantasia on "Alle Menschen the technique in "Straftmich nicht . . ." is implicit with314 a considerable number of references to the motive appearing in the introduction, settings of the individual variations and interludes. The motive, a three-note descending chromatic pattern, occurs in various rhythmic formations and appears singly and in doublings of as many as six or more parts. Instances of its use in the introduction, in one of the variations on the chorale, and in one of the interludes will be shown in Examples 237, 238,and 239. There is a highly concentrated application of the motive in the opening measures of the introduction, which may be seen in Example 237. Note its appearances first in the pedals and then in multiple doublings in contrary motion in measure two. Ex. 237. RW, Bd. 15, pe 171, mm. 1-2, Grave a4 The motive is compressed into triplets in another instance, occurring in parallel chord progressions in conjunction with3a5 the third note of the chorale, This may be seen in Example eoeg Ex, 238. RW, Bd. 15, p. 173, m 23. A different form is expressed in the interlude between the fifth and sixth phrases of the final variation on the chorale, a passage from which is shown in Example 239. The motive is again in the pedals, Note that the last note is displaced an octave in this case. Ex. 239. R Bd. 15, p. 185, mm. 112-13. Pia nosso jan or316 The first of the Op, 52 fantasias, and the shortest of vhese compositions, is quite possibly the movement one night select to best illustrate Reger's free rhapsodic ner and most extreme chromatic idiom. Artur Kalkoff may have had this composition in mind when he ascribed to +. «the love for the strongest contrasts in structure and likewise in dynamics, the piling up of chordal masses, the unswerving probing for dissonance, the accumulation of horizontal lines, the Striving to outdo him- self in every emotion and means of enhance~ ment, the availing himself of every,tonal resource of the modern organ. . « Kalkoff's comments seem particularly relevant to the introduction and interludes which occur between statements of the chorale in the Fantasia on "Alle Menschen missen sterben ." These sections of the composition exhibit a remarkable freedom from restraint, an,excessiveness coupled th enormous difficulty which has, perhaps, prevented the acceptance of the work and others of its genre by musicians outside of Germany. The multitude of tonalities suggested, musical ideas, organically related and otherwise, and con- trasts in tempo, texture, dynamics and registration seem almost too much to digest. The introduction in particular is marked by many short fragmentary sections which display these characteristics. The concept of one basic’ tonal center *2aetur Kalkoff, Das Orgelschaffen Max Regers (Kassel, 1950), pe 25.317 is rejected completely. One can scarcely point to a single instance when a given tonality is retained for more than a moment or $0. Reger's modulatory methods here are heavily governed by the principle of sequence and almost inevitably involve diatonic or chromatic stepwise root movement. One of numer= ous passages of this type is, cited in Example 240. The key of B-flat minor, implied at the close of measure eight, is quickly supplanted by the tonalities of ¢ major, D major, major, and F major in successive sequential modulations, ws Ex. 240. RM, Bd. 15, ps 234, mm. 8-9. gitate essai318 Another of Reger's favorite ways of effecting a modu- lation is by enharmonic means, Relative to this, Kalkoff has said that "diatonic and enharmonic elements are of equal importance in Reger's system of theory."23 An example in the rather extensive interlude which takes place between the rst and second variations on the chorale is worthy of note in this respect. At the conclusion of another passage sequential modulations, shown in Example 241, the expect ed resolution is spelled enharmonically. Judging from what occurs before this point, the modulation to E-flat major which ensues in measure 34 would indicate a B major sonority, the dominant in the key of E major, next. Instead, the chord is spelled as a C-flat major triad. 23xalkoff, pp. cit., p. 20.319 Ex, 2hl. RW, Bd. 15, p. 238, m. 34. Piu mosso ¢ The Fantasia on “Wachet auf! ruft uns die Stimme," Op. 52, No. 2, is in the same vein as the previous movement, but contains fewer variations on the chorale than any of the other fantasias. Reger compensates for this by writing a closing fugue of greater dimensions than before. The subject is lengthy, unrelated to the chorale and bears a similarity to the fugal subjects of the other two fantasias. Incidently, Reger's formal and harmonic conservatism in each of the fugues is a rather curious phenomenon, His techniques will320 be examined at some length'in the next section of the study. The chorale cantus firmus in this case does not make an appearance until the closing section of the fugue, where, as in the other fantasias, it is introduced in the pedals beneath a statement of the fugue subject. In this instance the first five notes of the initial phrase of the chorale, in diminution and expressed in octaves, provide an additional reference to the cantus, These measures maybe seen in Example 242. Ex. 242. RM, Bd. 15, pp. 267-68, mm. 1L2-L4/145. hed Joe Allegro con noto (Quasi vivece) Ss joe 2 aL ¢€ 1 |3aL Fantasia on "Halleluja! Gott zu loben bleibe meine Seelenfreud!," Op. 52, No. 3. The Fantasia on "Hallelujal! Gott zu loben. . ." has been selected for extensive analysis because it is one of vhe three fantasias employing fugues and for the reason that it seems to exemplify the best of the diverse ele- ments of Reger's style. It features the conservative quali- ties of the first fantasias along with a little of the rhapsodic, improvisatory writing of the later ones. The composition, in the key of G major and in 4/4 meter, consists of an introduction and seven variations on the chorale. Four of the variations are figural set- tings. One is in the idiom of the harmonized chorale and another represents the hybrid form in which elements of figural and homophonic writing are both present. The final variation is a fugue with chorale cantus firmus. The free, florid treatment of the cantus does not occur in this fantasia. The melody in each of the variations except the last is a simple, literal and continuous statement. Brief interludes take place after a few of the variations and between phrases of the cantus firmus in the concluding fugue. Finally, each of the variations is expressed in the tonic key and common meter and there seems to be no accompa- nimental references to the chorale apart from the treatment of the concluding stanza.322 The introduction features the diversity without the complexity of the introducvion to "Alle Menschen mlssen sterben,# Unfortunately, despite the presence of some degree of formal unity, is possesses the weaknesses which Reger's English critic, Harvey Grace, finds in much of his when it is disascociated from the chorale or other comparable means of achieving formal unity.*4 Three musical ideas stemming from the op ng measures of the movement are presented in the introduction. Brief episodes of pedal point separate the first to; the third is followed by a sequential passage which culminates with the entrance of the chorale, The treatment of these themes is all too brief, and the loose stringing together of them by rather obvious means can only seem contrived. The introduction b: ins with a free pedal cadenza which reaches its apex at the beginning of the second meas- ure. A measure and a half of dominant pedal point occurs at this juncture, The third relationship of B-flat major and G major is emphasized in a series of mounting chords which resolve with a conventional chord progression leading to a modulation to the key of the relative minor. ‘The pedal cadenza and initial measure of pedal point may be seen in Bxample 243. The parallel sovion that occurs above the pedal is typical of Reger's chordal writing in many passages of the larger works. Phorace, op. cit., p. 283.323 Ex. 243. RW, Bd. 15, p. 271, mm, 1-2, ‘Vivace assai At the conclusion of the section a passage of imitative writing derived from the introductory cadenza ensues. Once again there is a rise in register culminating with an episode of pedal point. However, the approach to the pedal is chromatic in this instance and the climactic note 4s the dominant of F major. Third relationships are again stressed and the section concludes with three sequential harmonized statements of a descending three-note motive which serves to restore the original tonality. The beginning of the imitative324, passage is shown in Example 244. Bd. 15, pp. 271-72, mm. 4/5. The section concludes in a perfunctory manner, A two- measure passage devoted to a florid motive once more traceable to the pedal cadenza and featuring a little imitative counter- point follows immediately. The keys of the dominant minor and supertonic minor are suggested in this brief episode. At its close the motive is abandoned for sequential treatment of a shorter related motive. The keys of G major, E minor and D major pass in quick succession. A reference to F-sharp minor is then followed by the reassertion of the tonic key and two additional shorter sequential passages leading to the first variation of the chorale. Reger's use of melodic and harmonic sequence in these measures can only be described as overworked. Measures such as those shown in Example 245 are typical.325 Ex. 245. RU, Bd. 15, p. 272, mm, 10-11, Reger is on firmer ground with the appearance of the chorale, In the first variation, the melody is enunciated by the pedals: below a figural accompaniment derived from the introduction, Chordal appoggiaturas and suspensions, and an accompanying characteristic thickness of texture reminiscent of Brahns are conmon to this style of setting. The beginning of the variation may be seen in Example 246. Mote the use of the 2 chord in conjunction with the first note of the melody. The sextuplet rhythm above the cantus is continuous throughout the variation, There is some use of cross-rhythm as the conclusion of the example would imply.326 Ex. 246. RW, Bd. 15, p. 273, mm, 15-16. Maestoso (ma cap Seuss) 4 eo 3 Lig 2. | —— The first variation on the chorale concludes in measure 27. The next variation begins immediately, The texture is reduced to four parts, the level of volume lessened, and the melody taken over by the tenor, A falling motive in the pedals, which could easily be interpreted as text painting, is the distinctive figural element, for it appears almost consistently throughout the variation. The first phrase of the variation, shown in Example 247, is especially worthy of note because the motive also occurs in the alto in both mirror inversion and diminution. The passage is also an excellent example of Regerts inclusion of a wide range of altered chord relationships within the boundaries of a given tonality.327 Bd. 15, pp. 274-75, mm. 27-28/29, Quasi un poco meno nosso The close of the second variation on the chorale proceeds without interruption to the announcement of the third, The tempo is altered slightly, but the cantus remains in the same voice. The texture is basically five- part and an unbroken triplet rhythm prevails in the setting. The more diatonic and subdued nature of this variation can be observed in the final phrase of the chorale, which may be seen in Example 248. Ex. 248. RM, Bd. 15, p. 276, mm. 50-51. andante (ma con moto)SSS SS EEUU UTES TUTTE EDEN STIT SDI S TIES ERECT ESTE CT TEESE EEE sEUESEOESTOTSTITSTOISTIISTIES 328 ‘The fourth variation inmediately follows the conclusion of the third. Here, Reger reverts to his more technically demanding style of writing. Below statements of the phrases of the cantus firmus in the soprano, the manuals and pedals engage in contrapuntal dialogue at tempos of first Allegro vivace and then Quasi vivacissimo. The exuberance of the lines of this stanza are admirably matched by the music. The first two phrases employ the rhythmic figure 4 ¥ FFI d *, The remainder of the chorale is set to figuration recalling the introduction. The two approaches to the setting ~ of the cantus may be seen in Examples 249 and 250. Note that both are in the more diatonic idiom of the previous variation. Ex. 249. BW, Bd. 15, p. 277, m. 52. Allegro vivace ee329 Ex, 250, B » Bd. 15, p. 277, m. 56. Qasi vivecissino 4A four-bar interlude, based on a continuation of the rhythmic figuration which was cited above takes place following the last line of the chorale. The fifth and sixth variations provide some moments of quiet before the onslaught of the fugue. The two variations are connected, The cantus is divided between the soprano and tenor in the one, the alto and the soprano in the other. The setting of the fifth variation of the chorale is in the manner of some of the harmonized chorales and is marked by considerable melodic thromaticism. The sixth statement of the melody is set in a semi-figural fashion until the fifth phrase. At this point, the triplet rhythm of the third variation reappears. At the close of the last phrase of the chorale a short interlude precedes the beginning of the final variation. Tonic pedal point is sounded throughout the setting of the first and second phrases of the fifth statement of the330 chorale with the pedals silent in these measures. The style applied to the variation as a whole may be surmised from the opening measures, shown in Example 251. Ex. 251. RY, Ba. 15, p. 279, mm, 67-71. Andante ame ie & enh add 28 The two methods of setting employed in the sixth variation may be seen in Examples 252 and 253. The first type is used in measures 80-88; the second in measures 86- 92, and a portion of the interlude following. Ex. 252. Bd. 15, p. 279, mm. 80-82. notte espreastvo A Save ln z Pa331 Ex, 253. RY, Bd. 15, p. 280, mm. 88-90. ‘Un poco piu lento (ma non troppo) Girerr! The closing climactic fugue with chorale cantus firms is as long as the introduction and previous six variations combined. Though written in a conservative idiom in general, it is a brilliant piece requiring a virtuoso performer. The subject, shown in Example 254, bears no perceptible relation to the chorale other than the possible derivation of its first three notes from the close of the second phrase of the melody. It is a long subject and not a particularly promising one. Note that the element of sequence is an Amportant factor in its makeup. Ex. 254. RW, Bd. 15, p. 281, mm. 96-99. Allegro brillante e vivace332 The exposition is four-voiced with the alto, tenor and bass taking up the subject in succession. The interval of imitation, after an adjustment of the first note, is the fourth below in each answer. A short episode occurs at the close of the exposition. The first Subject Group, measures 114-127, 4s comparable in length and treatment of the subject to the exposition. The subject appears four times in the same voice sequence but with a reversal of subjects and answers, and a correspond- ing reversal of key. The episode which follows is concerned most with the initial three notes of the subject. These notes occur in the various parts at various levels a number of times and are eventually treated in stretto imitation in the three measures preceding the next Subject Growp. The beginning of this stretto imitation of the subject fragment is shown in Example 255. . 255. RW, Bd. 15, p. 284, mm, 135-36. y €333 The treatment of the theme in the next subject grouping is not so literal as before. Six statements take place; in B minor, EB ainor, B minor, D major, 3 minor, and again B minor. The next to last occurrence, in the pedals, shown in Example 256, is worthy of mention, for the statement is Bd. 15, pe 265, mm. 151-54. £ — SS SSS Se ee 4A concluding episode featuring the three-note fragment used previously closes the middle section of the fugue. Some exceptional chromaticism is evidenced in the stretto334 passages with which the episode ends, shown in Example 257. The root movement of chord structures follows no traditional procedures, bringing to mind Eric Blom's comment that Reger's writing "often scorned any sort of rational progres- sion and took to a manner of modulation which linked chord to chord by a series of jerks." Ex, 257. RW, Bd. 15, pp. 285-86, mm. 155/156-58. rie Blom, "Reger;" Grovets Dictionary of Music and Musi~ S, 5th ed., VII, Sh.335 The closing section of the fugue commences immediately following the passage cited in Example 257. A statement of the subject in the soprano line and in the tonic key is answered in the dominant after the manner of the exposition. The chorale is introduced at its conclusion in measure 165, The statements of the first four phrases coincide with statements of the fugue subject, The subject appears in the tenor above the first two lines of the chorale in the pedals. In the repetition of the two phrases of the cantus, shown in Example 258, the melody is in the soprano and doubled at the octave for the most part. In this instance, the fugue subject is in the tenor, also largely in octaves, and is accorded close stretto imitation a minor seventh below in the pedals.336 Ex. 258. RM, Bd. 15, p. 287) mm. 171-7h. Vivace _ s A measure later the next phrase of the chorale occurs, set in parallel three-to five-part chords for the right hand above references to segments of the fugue subject in the left hand and pedals. At its close a four-bar interlude, which begins with stretto imitation of the fugue subject, is heard. The melody, in octaves, appears in the soprano line in the final phrase of the chorale initiated above a ref- erence to the beginning motive of the fugue subject, also337 in octaves. The pedal writing in this passage, while of a purely harmonic function, is characteristic of one of Regerts methods of composition for the pedals in his more demanding pieces. His extreme leaps and trills at fast tempos, ¢llus- trated here, as shown in Example 259, are within the capa- ilities of an exceptional performer only. Bd. 15, p. 288, m. 182. a \ = 0 OF Pande peer ia Several measures of extension lead to the final section of the Fantasia, a coda consisting of the repetition of the first two phrases of the chorale in close stretto imitation between the soprano and pedals. The statements in the soprano line are fully or partially harmonized in parallel chord progressions executed by the right hand. The left hand is assigned first the role of providing a concluding reference to the fugue subject, against the imitation of the first phrase of the chorale, and then assuring the rhythmic momentum of the next two bars by a continuation338 of sixteenth-note figuration, and duplicating or adding more parts to the chordal harmonization taking place in the right hand. The pedals are given the task of enunciating the phrases of the chorale in octaves. This, combined with octave doublings of the fugue subject as well as the upper version of the chorale melody, gives the coda the massiveness that is typically associated with the conclusion of all of Reger's fantasias. The beginning of the coda may be seen in Example 260. Ex. 260, RW, Bd. 15, p. 289, mm. 186-87. The closing note of the chorale functions as tonic pedal point for the remaining three measures of the composi- tion. The second through the sixth notes of the initial phrase are hammered ott a final time in a succession of chords in ten parts. Triple pedals are called for in the last two bars, which may be seen in Example 261.339 Qther Organ Movements Employing Chorales The manner in which Reger uses chorales in the works that fall under this heading, the second movements of the First Suite, Op. 16, and Second Sonata, Op. 60, and the Seven Organ Pieces, Op. 145, may be classified in two ways: first, compositions in which a figural or harmonized chorale setting constitutes the concluding section of a movement and the only use of the chorale, and second, others which also frequently close with a chorale, but feature figural, motivic or additional types of references or even complete chorale settings within the inner structure of the work as well. A common bond exists between seven of the nine movements to be discussed in this section, for they conclude with chorale settings. Particular attention will be directed at the fourth, fifth and sixth of the compositions which comprise Opus 145, as Reger's methods here appear to differ sub-340 stantially from his treatment of chorales in the preludes. First Suite in E Minor, Op. 16 The First Suite is a set of four movements consisting of an Introduction and Fugue, an Adagio, an Intermezzo, and 8 Passacaglia. The work is dedicated to J. 5. Bach, but as the titles of the movements would suggest, has little in common with the form of the suite in the Baroque period. Only the Intermezzo, an adaptation of the Minuet~Trio- Minuet, suggests the dance, Rudolf Huesgen, in his book, Der junge Max Reger und e Orselverke,6 relates that Reger first planned for the work to be a sonata and intended the third movement as an Ada, gio in B minor on the chorale "Es ist das Heil . . However, the movement in its present form employs two chorales, "Aus tiefer Not . . ." and "Herzlich tut mich verlangen," identified for some reason with a different word setting, "Wenn ich einmal soll scheiden," by most of she sources on Reger which were consulted. Various influences in the style of the Suite are pointed out by writers, The fact that the work is dedicated to Bach and was begun during Reger's transcribing of thirteen of Bach's organ cherales for piano provides us with an important 26audolf Huesgen, Der Max Reger und seine Orgelwerke (Schramberg, 1935), p. 5 oe341 clue. sStein®? sees with every movement the prototype of Regerts organ forms, and though referring to the influence of Lizst in the Suite, considers the Adagio Bach-oriented. 28 Huesgen*® recognizes not only the spirit of Bach in the ds sith particular reference , but finds the movement to the first part, embued with the mood of Parsifal. The structure of the second movement, the only one to employ chorales, is four-part: an initial section in B major, which reminds Euesgen®? of Bach's chorale prelude 0 Mensch, beweint dein Sunde gross;" a second section in B minor devoted to imitative treatment of the first phrase of the chorale "Aus tiefer Not . . .," another, also in the key of the parallel minor, consisting of the responsorial setting of "Herzlich tut mich verlangen," and a final section which is a literal repetition of the first. The use of chorales is our most immediate concern, but notice should be taken of the style of she initial section of the movement, The opening measure, shown in Example 262, should suffice, The prominant use of the mordent, schneller, turn and trill in the section immediately takes the listener back to another era. 27stein, op. cit., p. lil. 2énuesgen, op. cite, p. *Suuesgen, op. cit., p. 73-3h2 Bd. 15, p. 48, m. 1, 4 Aagio assal, The second section of the movement is, to all intent, a fughetta on the first phrase of "Aus tiefer Not. . .." There is a four-voiced exposition of the subject and numer- pus subsequent references to the line in part or whole. The beginning of the section may be seen in Example 263. Ex. 263, RW, Bd. 15, p. 49, mm. 11-13, Pil. andante h343 Reger's setting of the chorale "Herzlich tut mich verlangen" in the third section of the movement is similar to his treatment of "Aus tiefer Not . . .¥ in the Thirty rt Chorale Preludes. The antecedent phrases of the nelody are stated by a solo voice and embellished some- what; the consequent phrases are set in a simple five-part zation, The repetition of the first and second lines of the melody is omitted, The treatment in the section may be surmised from the first two phrases of the chorale which y be seon in Example 264. Note the superimposition of the first line of the melody in the pedals during the statement the second phrase. Bd. 15, pp. 50-51, mm, 27~28/29-30. Ex. 264. The closing phrase of the chorale is followed by a ition of the initial line in a chordal setting which serves as a brief interlude before the resumption of theBle material of the first section of the composition. Second Sonata in D minor, Op. 60 Reger's Second Sonata consists of three movements. The titles of these movements are an indication of the diverse elements present in the composition: I. Im- provisation, II. Invocation,and III. Introduction and 2. The first and second movements possess, on a larger scale, many of the same qualities of the free sections of the fantasias. Harvey Grace's comment regarding this and st Sonata seemSapropes. Grace concludes that the Sonatas "suffer from an overdose of ‘storm and stresst "30 The second movement Invocation is composed of two principal contrasting sections with intervening transitional material. The second section is a figural setting of the chorale "Vom Kimmel hoch, . . .." The melody is continuous, ple and placed in the soprano line, doubled at the octave. Various rhythmic patterns in the lower manual parts carry the figuration, the pedals participating rarely. The final note of the cantus functions as inverted tonic pedal point for two additional measures following the cadence. Reger's approach to the setting of the chorale may be seen in Example 265, the initial phrase of the section. 30Grace, op. cit., po 284.BAS |, Bd. 16, pp. 158-59, mm. 8-9/1. sosgonnto (night_schleppend) ott ef ————————————— —- eo. a Seven Organ Pieces, Op. 145 Stein has called this set of organ compositions with descriptive titles "Gelegenheitsmusik,"31 that is, "occasional music." ‘They were composed in the period 1914-15 and dedicated to the memory of Germany's war dead. As in the case of the previous composition, there is a close stylistic link with the free writing of the fantasias. The compositions are greater in length than any of the chorale preludes except for the fantasias, and in several cases, warked by the ex- tensive use of chromaticism, many passages of an improvisa- tory nature, and frequent and extreme contrasts in texture, tempo and dynamics. The use of chorales in the movements is obviously symbolic and warrants their being labeled as tone poems, 3lstein, op. _cit., p. 120.NTNU ESET OS ESOC EOE TOUEEEEEEEEEEEEEESE 346 ere is cyclic use made of the first chorale, “Was Gott tut, . . .." It appears in a massive harmonization at the close of the first piece, Traterode, and again in the i section of the second composition, Dankpsalm, which is especially dedicated to the German army. The first two phrases of the second setting are nearly a literal repetition of the corresponding lines in the first setting, even to the use of a descending three-note motive which appears at the close of cach phrase. The remainder of this version of the chorale is given a figural setting. Another chorale, "Lobe den Herren, den nfchtigen KUnig der Ehren," forms the last section of the Dankpsalm. It is set in the more elaborate harmonized chorale manner which Reger uses in the larger works. The next chorale to be utilized, "Vom Himmel hoch, . . .," appears in the concluding section of the third piece, Weihnachten, which is little more than a potpourri of familiar German Christmas carols and hymns. For example, the tune "Silent Night" is superimposed against the setting of the chorale. The chorale, "Herzliebster Jesu," is used with more imagination in the fourth and simplest of the Seyen Organ eces, entitled Passion. Motivic references to the first phrase, in solo, imitative or homophonie passages, are capped vy a simple harmonization of the entire chorale. The three347 approaches found in the motivic treatment of the chorale may be seen in Examples 266, 267 and 268. Ex, 266, Seven Organ Pieces, Op. 145, No. &, pe 2, mm. 1-2. Holto sostenuto ————————— Ex. 267. Seven Organ Pieces, Op, 145, No. by pe 3, mms 7-9.348 Pieces, Op. 145, No. 4, p. 3, mm. 16-17. . 268. Seven is The fifth and shortest of the pieces, Ostern, employs ul chorale "Auferstanden, auferstanden" in much of the composition. Two sections of the movement begin in an ative manner, using a motive derived from the opening line of the chorale in diminution, as shown in Example 269. Bx. 269, Seven Organ Pieces, Op. 145, Noe 5, ps 3, Mm Le Con moto349 Another section of thei composition consists largely of homophonic settings of the first and second phrases of the chorale with antecedent and consequent phrases in rent keys. Regerts technique here may be seen in mple 270. Ex. 270. Seven Organ Pieces, Op. 145, No. 5, Pe 4, mm. 2-6, fe 2 he # Finally, the last section is devoted to a harmonized setting of the entire chorale. The style is of the massive and elaborate type found in the settings which conclude four of the Seven Organ Pieces. The initial phrase of the harmonization is shown in Example 271.350 The Pentecostal chorale "Xom , neiliger Geist, Herre is employed in the position, Pfingsten. This piece is in the somewhat simpler idiom of several of the set. The treatment 2 th: chorale is similar to that which took place in the fourth of the movements and the second section of the fifth and scens to require no special comment. The last of the Seven Crean Pieces is in the "bravura" style of the Dankpsalm, but outdocs that composition in sheer bombast. The movement consists of three principal sections. Pompous, free chordal passages and phrases of the chorale "Nun danket . . .," measures of toccatatlike quality, and others distinguished by fanfare motifs in multiple doubl- ings vie for attention in the first two sections in a dizzying parade of tempo and dynamic changes. In the crowning measures of the composition, the strains of "Deutschland, Deutschland iber alles” are projected first351 in the pedals in octaves, then in the soprano line, and nally in close stretto imitation between the two parts, ne dynamics called for in the last section are fff, As if this were not enough, Zeger specifies sempre crescendo in the concluding four measures of the movement. It is easy to see why the English wou! i take offense at the_Siegesfsier, his naive piece of program nusie predicting the victory of ermany in the Jar. The similarity in materials used would Q almost invite a comparison with Brahms'Triumphlied, but the wide discrepancy in quality does not warrant it. Works Reger's use of choraies in his other instrumental music is limited to a single composition, An Overture to the » Op. 140, for large orchestra. Though Stein?* considers the work no "occasional piece," its dedication to the German army and inclusion of national airs would appear to justify its placement with compositions of this kind. It has not been possible to study the score of this work at first hand, and the writer is indebted to Stein's s for the information presented here. Reger~Ver According to Stein?3 Overture dates from 1914 and was composed in ? iningen. It is scored for three flutes, 32stein, op._cit., p. 153. 33rnitz Stein, Thematische encn verke von Max deger zeichnis der im Druck erschien- pag, 1953), p. 343.352 two oboes, clarinets and baSsoons, contrabassoon, three trumpets, four horns, three trombones, tuba, timpani, percussion, strings and organ ad, lib. In the climactic section of the work, the melodies "Deutschland, Deutschland fiber alles," "Es braust ein Auf wie Donnerhall," and "Ich hab’ mich ergeben mit Herz und mit Hand” are simultaneously developed while overhead the chorale "Nun danket . . ." is intoned by three to four trumpets and trombones placed apart from the orchestra. B, Vocal Music Extended Works for Chorus and Orchestra Regerts large-scale compositions for chorus are few in number. Projected plans for a Mass and a Te Deum were cut short by the composer's death. For this reason, the 100th Psalm, Op. 106, for four-part mixed chorus and an orchestra of paired woodwinds, two trumpets, four horns, three trombon- es, tuba, timpani, percussion, strings, and organ, written between 1908 and 1909, remains his sole choral work of ex- tended length. The Psalm has been called «+ «the biggest and most monumental and, in Acs érfect, the most powerful of his compositions. For once Réger seoms to have satisfied in this k, a craving cherished by him al) through his e2--the craving for the big, all-engulfing forms of the symphony and the oratorio. 34 F4ucomann Grabner, Preface to miniature score of Psalm 100, Op. 106 (Vienna, 1925).353 Stein's enthusiasm for the composition is such that he feels one *. , . must go back to the jubilation choruses of Bach's ‘ass and the Ql of Beethoven's Missa Solemnis to find music of like expressiveness and greatness."35 Psalm 100, Op. 106 Formally, the 100th Psalm has been characterized at various times as a “symphonic cantata} and a "shoral symghony."37 In more specific terms, the work is a single continuous movement consisting of three broad sections linked together by common thematic material. ‘Two themes which are contrasted to each other "like the principal subject and subsidiary subject of a symphonic movement"3® are treated in the first section, The second section of the composition corresponds to the slow movement of a symphony and features a recurrence of the subsidiary theme of the first section. The third and final section of the Psalm consists of an introduction and a massive double fugue, In the closing section of the fugue the chorale "Nun danket . , .” is added as cantus firmus, 35prite Stein, Max Reger, p. 142. 36z00, eit, 37hoc. cit. 38Grabner, op. cit.354 The cyclic treatment of thematic elements in the composition is brought to a conclusion in the third section with the motivic use of a figure taken from the first section, The figure, shown in Example 272, is initially employed in the instrumental accompaniment to the choral exhortations of "Jauchzet dem Herrn" at the beginning of the work. Ex. 272,_Psalm 100, Op. 106, p. 3, m3 Violin I Mgest SS e In the concluding section of the movement, the eleven- measure orchestral introduct‘on to the fugue is based on successive statements of this figure in augmentation accompanied by a gradual building in instrumentation and dynamics. The opening measures of the introduction may ve seen in Example 273.355 273. Psalm 100, Op. 106, p. 102, mm. 3-4. Andante sostenuto Finally, one of the two fugue subjects is initiated with the same motive. Both subjects, shown in Example 274, are accompanied by full orchestra.?9 3%Pqul Hindemith's revision of the Psalm in 1958 thins He better clarifying Reger's dense orchestration considera the structure of the composition.356 Ex. 274. Psalm 100, Op. 106, p. 105; p. 106, m ly Allegro maestosu 4s Denn der Herr __ist freund - lich, und seine ines The closing section of the fugue is most pertinent to this study. Four extra trumpets and trombones are added by Reger at this stage for the intonation of "Nun danket + + se" The phrases of the chorale, with some separated by short interludes, are expressed in octaves against complete or partial references to the two fugue subjects by the chorus with full orchestral support. The entrance of the organ in the fugue is delayed until the appearance of the chorale. There, its function is largely to double the choral parts and occasionally, in the pedals, the cantus firmus, The orchestral contrabasses also serve to reinforce the melody at these points. The quality of thickness of Reger's scoring may be measured in Example 275, the beginning of the closing section of the fugue.357 275, Psalm 100, p. 141. Sharus (with organ doubling) x= SoS ee * es | nore der | =358 The concluding phrase of the chorale, set in long notes and at Adagio tempo, occurs with additional doubling in the clarinets and first trumpets and a massive chordal harmoni- zation in the organ, and the movement ends with bursts of string tremulo and final references to the introductory motive of the Psalm in the winds. Shorter Works and Single Movements for Chorus Reger's shorter concerted works for voices and in- struments utilising chorales consist of Iwo Songs, Op. 14h, and five chorale cantatas composed for the chief festivals church year, which were published without opus number, The first named compositions, Der Einsiedler and Reowier, are set to texts by Eichendorff and Hebbel. The initial piece is scored for baritone, five-part mixed chorus » nd orchestras the second for alto or baritone, mixed chorus nd orchestra. ‘The orchestral requirements are the same Zor both compositions: three flutes, two oboes, English horn, two clarinets and bassoons, two trumpets, four horns, three trombones, tuba, timpani and strings. Scores of these pieces were unavailable for study. Stein*informs us that the chorale "Nun ruhen alle WHlder" ("0 Welt, ich muss dich lassen") is introduced by the trombones at the words “Die Lulfte alle schlafen" in the setting of Der Einsiedler. 4Oppita Stein, Reger Thematisches Verzeichnis, ps 35h.359 The similar use of tone painting is implied by Regerts use the chorale "Hergzlich tut mich verlangen" in the Requiem. same authority+ discloses that this melody appears in the chorus in the closing section of this composition. Cantatas Reger's chorale cantatas would seem to represent the most important segment of his vocal works in which chorales are used, All were composed in Munich between the years 1903 and 1905. The first, "Vom Himmel hoch, da kommt ich her” is ‘itten for four solo voices (SATB), children's crus and congregation, two solo violins and organ or Special features of this Cantata include the thematic use of "Silent Night" in several stanzas, the device of echo and free obbligato writing for solo voice, The second, "O wie selig seid ihr doch, ihr Fronment," which will be discussed later at some length, is scored for soprano solo, four-part mixed chorus, solo quartet and congregation with string orchestra and organ accompaniment. The third cantata, "0 Haupt voll Blut und Yunden," technically similar to the first, is set for solo alto, tenor or soprano, mixed chorus, solo violin, solo obve or viola and organ, Reger's last two cantatas are shorter and in a somewhat simpler idiom. e fourth, "Meinen Jesum lass ich nicht," 48 scored for solo ‘lop, cit., p. 355.360 soprano, mixed chorus, solo violin and viola and organ. The cantata, "Auferstanden, auferstanden," unpublished during Reger's lifetime, is written for alte solo, mixed 23 and organ. Hugo Holle accurately describes the cantatas as "closely related in form to Regerts organ fan- and variations,"4? adding later that ". . . they are by no means Choralbearbeitungen in the usual figurative sense; here, the chorale is only an impetus for a freely- composed work 43 Chorale Cantata No. 2. "0 wie selig seid ihr doch, ihr Fromment" The structure of the second and "technically somewhat more pretentious"#+ 9f Reger's cantatas is shown in the following diagram. 42iyeo Holle, Regerts Chorwerke (Munich, 1922), p. 18. 43. Shepitz Stein, Max Reger, p. ll.361 Stanza or Measures Setting Section introduction 1-12 lorgan 2 13-23 congregation, organ accompaniment interlude 24-2. organ * 26-36 chorus, string accompaniment, interlude =38 jorgan 2 nk congregation, organ accompaniment interlude 0-51 organ. * 262 soprano solo, string accompaniment interlude 63. lorgan _ 64-7 congregation, organ accompaniment interlude 25. organ * 6-86 chorus, string accompaniment interlude 87-89 regan 4 10-100. longregation, organ accompaniment interlude 101 regan * 102-112 boprano solo, string accompaniment inserlude 113-114 ean 5. 115-22) bongregation, organ accompaniment interlude 126 gan * ] 127-13) hore quartet, solo violin ¥ unnumbered stanza362 $$ Stanza or Measures Setting Section interlude 138-13 organ 6 140-150. congregation, organ accompaniment interlude 152 organ x 152-162 chorus, string accompaniment interlude 163-164 organ \ a 165-175 congregation or semi~chorus, semi-chorus, string and organ accompaniment 5 176 organ and strings & 177-189 congregation or semi-chorus, semi-chorus, string and organ accompaniment * unnumbered stanza The Cantata is a set of cantus firmus variations. The factors of melody, key, meter and tempo are invariable. The jody is simple, continuous and literal im every variation; the key of D minor, the time signature of 4/4 and the tempo indication of Ziemlich langsam are fixed elements, The variable factors in the composition are limited to texture, instrumentation and dynamics. We are again reminded, as in the fantasias, of Reger's generally close affiliation in his chorale variations with the early period-in the develop-363 ment of the variation form in which the "stability of the melody was . . , traditionally observed."45 A study of the formal diagram will show that successive statements of the chorale sung in unison by the congregation (or chorus) alternate with statements given to the choir oF a soprano soloist until stanza seven, where the full ensemble is specified*®, and that five types of settings are employed by Reger: 1. congregation and organ,2. chorus and § ngs, 3. solo quartet and solo violin,4. soprano solo and strings, and 5. congregation, semi-chorus, strings and organ, Several additional observations with regard to the fourteen settings of the chorale melody may be made. First, it should be noted that the string orchestra is invariably omitted in the statements entrusted solely to the congrega- tion. The organ accompaniment in these settings is generally figural or semi-figural and of a four-part texture with the melody doubled in the highest voice. The only exception to this is in stanza three, where the chorale tune is placed in the tenor line. Second, the choral settings of the melody are on the whole simple vocal chorales with figural accom- peniments. Only in the last two stanzas does the chorus 4513114 Apel, "Variations", Harvard Dictionary of Music. 46xo1le has compared the congregational statements of the norale to the "living" and the versions by chorus or oloist to the spiritual . . ."Stimmen von oben." Op. eit pe 2l.364 deviate from this. Third, there seems to be no obvious derivation of motives or figures from the chorale. Finally, it should be mentioned that Reger appears to have attempted to set harmonic idioms in opposition, at least to some extent, for there is noticeably more use of chromaticism in some settings of the chorale. This is most apparent when the settings calling for the participation of the congregation are compared with the choral versions. The latter are often perceptibly more diatonic in nature. The introduction to the Cantata is not unlike passages of Tristan und Isolde. A rising chromatic motive 1s featur- ed in ascending statements which reach an apex two measures before the entrance of the chorale. Reger's debt to Wagner seems particularly explicit in the passage shown in Example 276. Ex. 276, Chorale Cantata No. 2. "0 wie selig seid ihr doch, ihr Fromment,” p. 3, mm, 8-10. Zienlich langeam (Tempo des Chorales.) (Doch nie schleppend!) St, Sehnel jer! |365 ‘ther than examine the successive statements of the chorale, it seems more pertinent to discuss and cite only the different types of settings chosen by Reger. Of the settings for congregation and organ, it may be pointed out that the first and fourth are not so markedly figural, that the characteristic downward leap of the interval of the diminished seventh is employed motivistically in the second, and that a continuous triplet rhythm oceurs against the melody in the fifth, The figural and less obviously figural approach to the accompaniment of the stanzas of the chorale may be compared in Examples 277 and 278, the first phrases of the second and fourth stanzas. 277. Chorale Cantata No, 2. "0 wie selig seid ihr doch, hr Froment,"p. 6, mm. 4-6. Congregation ~ — =———= le - dex,366 Bx, 278. Chorale Cantata No. 2. "0 wie selig seid ihr doch, Fromment,"p. 11, mm. 7-9. nzregation Christus asischot 2b euch al - le Trd - nen, The different methods utilized in the settings of the unnumbered stanzas are more varied. Of the three which are scored for chorus and string’, one, from which a phrase is shown in Example 279, has been selected to demonstrate Reger's general vocal and instrumental techniques. Note the compara~ tive simplicity of the vocal setting and the doubling of the bass part by the contrabasses and the duplication of the motive in the first violins by the "cellos.367 275. Chorale Cantata No. 2. "O wie selig seid ihr doch, ihr Frommen?,"pp. 9-10, mm. 5-6/1.368 Tne two settings for soprano solo and strings provide an excellent contrast to those for multiple voices. There is considerable activity in the strings on both occasions. The following measures, the closing phrase of the second unnunbered stanza, which may be seen in Example 280, demon- strate this quality and permit us to single out the recurr- ence of the falling motive of the diminished seventh in the tcellos and basses, measure two.369 280, Chorale Cantata No. 2. "0 wie selig seid ihr doch, omen" p. 8, mm, 2-4. Gna - de stil - len, The single setting of the chorale for solo quartet and violin is an interesting coloristic technique. The violin , obbligato is in the nature of an extemporization on the370 “ale, soaring above and, in a few instances, dipping below Reger's procedures in the section may be seen melody, « Chorale Cantata No. 2. "0 wie selig seid ihr doch, manent," p. 15, mm. 7-9. 0; Yan.2 (solo) , he a, fee ig Re ie rte Solo g va * piles—ticn aod ‘eae a ist, ea Reger's writing in the two tuttd sections of the Centata is on three levels: busy figuration in the upper strings and occasionally all the strings, a less complex type of figural or semi-figural writing in the first semi-chorus and organ, and, the unison chorale intoned by the second semi-chorus or371 congregation. Reger's tendency to "pull every stop" in the ng passages of many works creates a considerable dense- ness of texture. The final measures of the Cantata, shown in Example 282, seem best to exemplify this overabundance, this plethora of notes which antagonized many of Reger's critics. Ex. 282. Chorale Cantata No. 2. "0 wie selig seid ihr doch, ent," p. 23, mm. 4-6. Oho. and Congregation372 Chorale Harmonizations Reger's many simple homophonic arrangements of chorales for voices were no doubt intended for use by the small S nchor or for devotional music in the home. All are unaccompanied and most date from the Weiden years, 1898- 1901, during which time Reger lived with his parents i following his release from Army service for reasons of ill health. There is no uniformity in the labeling of these movements. Reger refers to some as Choralbearbeitungen, others as Kirchengesange, and still others as geistliche ge or even Lieder. Christmas carols and even hymns of uncertain derivation are included in several of the sets izations. The largest part are Lutheran in origin, but instances of texts other than those most often associated with the melodies are not uncommon and certain tunes and word settings cannot be found in Zahn's Die Melodien der evan- gelisehen Kirchenlieder or other sources. Because of the great number and the basic similarity of Reger's vocal chorale harmonizations, it seems advisable to mention the individual settings of two groups only, the only vocal chorales, incidently, to be published with opus numbers. They are, namely, the compositions which comprise Op. 798 and 79g. The first set consists of two books of Choralbearbeitungen for mixed chorus. The initial group is composed of four-part settings of "Jesu, meines Lebens373 Leben," "Auferstanden, auferstanden," "Auf Christi Himmel- ahrt allein," "un preiset alle," "Such, wer da will,” "ach Gott, verlass mich nicht!", and "Ich weiss, mein Gott." The second book contains five-part harmonizations of Ich hab! in Gottes Herz und Sinn," "Jesu, grosser understern," "Jesu soll die Losung sein," "0 selig Haus," r, deine letaten Worte," another setting of "Auferstanden, aufer Standen," and a six-part harmonization of "Gib dich gufrieden.” The Op. 79g compositions are three chorales for three-part women's or children's choir: "Lobt Gott, ihr Christen, allzugleich," "Danksaget dem Vater," and "Nun lasst uns gehn." Reger's arrangements of these chorales can scarcely be compared with Bach's chorale harmonization of the Cantatas, assions or Motets. They are merely hymns in "familial style, vocal counterparts of the simplest and most diatonic of the Thirty Short Chorale Preludes for organ, which were discussed earlier. The following two examples, Example 283 and 284, provide adequate illustration. Bx. 283. Op. 79f, Bk. I, No. 2, "Auferstanden, auferstanden," Stein, Roger-Vergzeichni3, p. 181, mm. 1-2. Froudig bewegt auf - er - stand- en, o374 Bx. 284. Op. 79g, No. 1, “Lobt Gott, ihr Christen, allaugleich," p.’184, mm. 1-2. Andante con note pi Tabt Gott, thy Christ-en oll zu ~ gleich, sf ——— — E SE i T Lobt Gott ihr Christ-on —all- gu - gleich, = {——— aE ————— ———— —— — + Tae other chorale settings for voices may be mentioned briefly, ‘Three additional collections stem from the Weiden period: Tuelve German Sacred Songs for mixed chorus in four-to eight-parts, The Lutheran Church Choir (forty easy sacred songs for SATS), and Four Songs for Passion and Easter for three-part women’s voices. A setting of "Komm heiliger Geist® for four-part mixed chorus and Four Church Songs ‘or the same vocal combination represent Regerts final efforts in this genre. As it was mentioned earlier, not all of these melodies can be authenticated, Solo Songs Three of Reger's many songs for solo voice employ Lutheran melodies, the Iwo Sacred Songs, Op. 19, for medium voice and organ, and the Christmas Song: "Ehre sei Gott in der H8ht," for voice and piano or harmonium or organ, published without opus number. The Op. 19 compositions375 = the early Weiden period. Each formal design, The chorales "Es ist das Heil . . .” ch tut mich verlangen" interlaced thematically setting of the first Hymn), the longer of ‘iergliebster Jesu” and again milarly employed in the second, ALL" (But Thou Didst Not Leave His Soul in Hellt). The melody of "Es ist das appears in its entirety in the organ accompaniment of the first section The chorale melody "Herzlich tut mich verlangen” is an integral part of the vocal line in the second section of same song, for the first, sec- ond, and fifth phrases of the chorale appear in succession. Following statement of the fifth phrase, references to the chorale cease. The first two melodic ¢ only of "Herzliebster Jes ™ are utilized by Reg second composition, These phrases occur three the accompaniment of the initial section of the soxg in the introduction, then es later beneath the solo, an octave below that in the ct das Heil . . ." in the ; is similar to that which took except that the final line of376 the chorale melody (somewhat elaborated) is taken over by @ and utilized as the closing phrase of the composi- ‘itz Stein, in his biography of Reger, emphasizes fluence of Bach in the two compositions, even suggest- he refers to as an “outright quotation from Bach"? the second piece. He compares the beginning of Bach's chorale prelude "Durch Adam's Fall ‘ist ganz verderbt" with reduction to "Doch du liessest . . .," pointing out 2 symbolic use of a motive, the interval of the descending ed Seventh, in both, Reger's intensive study of works with Hugo Riemann was of considerable influence, particularly in his early compositions such as the first le preludes and the First Suite for Organ, Op. 16. The older master's influence is likewise apparent here. Compare the beginning of Bach's Prelude, shown in Example duction to Reger's song, which may be 285, with the int: Example 286. 47stein, op. cit., p. 112.377 Prelude on “Durch” Adam's Fall Bach, Choral arbt,"’ mm. 1-2,37€