Selected Writings of Max Reger by Christopher Anderson

By Christopher Anderson

The identify of this publication is, "Writings of Max Reger," yet there's a pitiful loss of his writing the following. allow me be extra particular. Amazon marketed the publication as having 184 pagers, and this can be precise, yet because it seems, the 1st forty three pages are the editors advent (I-XLIII) and the final 34 are notes and an index. This leaves 107 pages: nine pages are thoroughly clean, four have a unmarried name heading and 24 are extra reviews from the editor, and writings by way of different people. This leaves 70 pages and of this quantity in simple terms forty two are totally dedicated to Reger writings.

I remorse to assert it, yet this ebook turns out a perfunctory "publish or parish" sham. it's in truth a forty three web page essay with examples of Reger's writing helping the standard that the composer had a foul time with the musical critics of his day and that he may be counted on for a few humorous comments.

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00 Mark. Leipzig, C. F. Kahnt Nachfolger. The hastiness of modern life, and the disquiet with which the present generation moves from place to place, is reflected in many respects in the newest music. After one contented oneself at fi rst with the simplest modulatory means for getting around, the modulation locomotive of the diminished seventh chord (so called by A. B. Marx) was invented, and, with the help of enharmonic reinterpretation, an electric rail connection was established between the most remote key areas.

F. Kahnt (Reger 1903). Preferring exemplum and imitatio to the byways of academic theoretical discourse, he largely refrains from prose text as such, instead merely supplying one hundred extremely brief four-part musical examples of one or two bars’ length, each demonstrating a particular modulation, using as tonal departures the keys of C major, C-sharp major, A minor, C-flat major, D-flat minor, and A-sharp minor, respectively. indd 3 4/4/06 8:24:06 AM 4 SELECTED WRITINGS OF MAX REGER possibilities of common-chord modulation without recourse to enharmonic reinterpretation.

5 Herr A. will have little luck with me by calling upon Riemann. As much as I esteem Prof. Dr. Riemann, I regret that I cannot in any way regard his music-theoretical teachings as binding for me or as infallible, not to mention that his Syntaxis had appeared already in 1877. Since then — at that time Wagner was still frequently decried as the “blood enemy” of German art — certain changes formerly thought impossible have entered into very many, many deeply incisive views. , who relies on Riemann’s doctrine in his condemnation of my example no.

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