Classical Music

Classical Music

Classical Music

Works for piano and organ - assembled on this CD to celebrate Max Reger's 125th birthday - played by the two organ virtuosos Wolfgang R�bsam (Chicago) and Andreas Rothkopf (Saarbr�cken).

Classical Music

Classical Music

Commemorating the centennial anniversary of Max Reger’s death, this new release contains Reger’s Three motets Op. 110 and his Chorale cantata “O Haupt voll Blut und Wunden.” Reger’s Three motets were composed during thefinal days of tonality, which Reger stretches with his intricate, complex counterpoints and textures. His chorale cantata “O Haupt voll Blut und Wunden” has not been frequently recorded. The piece, based on Paul Gerhardt’s Passion hymn, is an often overlooked masterwork of choral music. These pieces are performed by the SWR Vokalensemble Stuttgart, conducted by Frieder Bernius.

On the occasion of it's 40th anniversary Carus has initiated a new series Carus Classics, featuring ten outstanding CD productions from the past library of recordings. This exclusive collection, designed by Friedrich Forssman and Cornelia Feyll, is presented in high-quality DigiPacs and each CD includes an extensive booklet. '... exemplary recording.' (New Classics, September 2005)

The first two of Three Motets of op. 110, all dedicated to the Thomanerchor, present a demanding challenge to choral singers. On the other hand, in the Acht Geistliche Gese�nge op. 138, Reger shows his mastery of the straightforward setting - a masterly "new simplicity" - in which the composer spanned the bridge to his earlier choral works.

Classical Music

Classical Music

SECOND SONATA, CHORALFANTASIE

In 2016, the musical world commemorates the centenary anniversary of Max Reger’s death. With the exception of opera, Reger composed in all musical genres and for various instrumentations. While he is frequently remembered for his organ music, it was his chamber music, which Reger concentrated on the longest- right up until his final composition, the Clarinet Quintet, Op. 146. To promote Reger’s music, it is necessary to bring young musicians in contact with it. Thus, there was born a unique project in cooperation between querstand label and University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig. 25 students have rehearsed chamber music works by Reger together with their internationally renowned teachers and recorded them at the University. The result is this release. This release provides an interesting insight into a part of Reger’s catalogue that can only rarely be heard today. Particularly notable is the inclusion of some rare cello works by Julius Klengel, a Reger colleague at the Leipzig conservatory and interpreter of Reger’s works, some of which were dedicated to him.

Celebrating the 100th anniversary of Max Reger's death in 2016, this new CD contains famous examples of his works for choir a cappella. Conducted by Johannes Buxbaum, former Cathedral Organist and Choir Director at Marienm�nster Cathedral in Dien am Ammersee, the CD was produced in cooperation with the Bavarian Broadcasting Corporation.

The Chorale Fantasy Alle Menschen m�ssen sterben op.52, 1 opens the last group of Reger's "symphonic" chorale fantasias. The piece in question is perhaps the most orchestral of them all and utilizes the bulk of all the instrumental registers on the organ in order to construct, in Reger's own words, a miniature symphonic poem for Organ. In this music, Reger operates with highly expressive intervals, and alternates the cantus firmus in all the voices of the texture. A noteworthy highpoint of the composer's output is Wachet auf, ruft uns die Stimme op.52, 2, which contains some of Reger's gravest, most profound, and moving music. The stark chromatic lines and dark instrumental colors depict a most otherworldly and visionary atmosphere. Halleluja! Gott zu loben, bleibe meine Seelenfreud op.52, 3 is the last of the big chorale fantasias. The word-painting of the text is again remarkably mirrored in the music, in the tradition of Bach. The conclusion of the fantasy is a well-constructed fugue, built this time on a newly-invented theme. In the final measures of the fugue, the fugue subject and the opening cantus firmus are contrapuntally combined.