Max Reger and Karl Straube
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A01=Christopher Anderson
Allgemeine Musik Zeitung
Author_Christopher Anderson
Bach's Music
Bach's Organ Works
Bach's Vocal Works
Bach’s Music
Bach’s Organ Works
Bach’s Vocal Works
Byzantine Music
Cantus Firmus
Category=AVN
Category=AVP
Category=AVRG
Chorale Preludes
early twentieth-century organists
Ein Feste Burg Ist Unser
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Fugue Subject
German musicology
historical interpretation
Josef Rheinberger
Leipzig Conservatory
Leipzig music tradition
Manual II
Metronome Markings
Minor Op
organ performance practice
Organo Pleno
Pedaling Indications
primary source analysis
Reger Straube collaboration study
Reger's Music
Reger's Op
Reger's Organ Music
Reger's Organ Works
Reger’s Music
Reger’s Op
Reger’s Organ Music
Reger’s Organ Works
Straube's Pupil
Straube’s Pupil
Tempo Modification
Thomas Church
Thomas Organ
Wachet Auf
Product details
- ISBN 9781138246362
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 06 Mar 2017
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Max Reger (1873-1916) is perhaps best-known for his organ music. This quickly assumed a prominent place in the repertory of German organists due in large measure to the efforts of Reger’s contemporary Karl Straube (1873-1950). The personal and collegial relationship between the composer and performer began in 1898 and developed until Reger’s death. By that time, Straube had established himself as an important artist and teacher in Leipzig and the central authority for the interpretation of Reger’s organ music. The Reger-Straube relationship functioned on a number of levels with decisive consequences both for the composition of the music and its interpretation over a period fraught with upheaval on sociopolitical, religious and aesthetic fronts. This book evaluates the significance of the relationship between the composer and organist using primary source materials such as autograph performing manuscripts, reviews, programmes, letters and archival sources from contemporary organ building. The result is a much enhanced understanding of Reger in terms of performance practice and reception history, and a re-examination of Straube and, more broadly, of Leipzig as a musical centre during this period.
