Max Reger Intermezzo Op, 45-3 in E-flat minor.

[presto agitato]

In my opinion Reger is the most underrated piano composer ever. He wrote more than fifty piano works and many of them are great (Variations and Fugue on a theme by Bach is probably his most famous piano work).

His Intermezzo Op 45-3 in E-flat minor is very dark piece. Have you ever listened to it?

Thanks

[birba]

Never.  It isn't in the IMSLP.  Do you have it?  why don't you post a recording of it? 

[stevebob]

I first encountered Reger’s name in Friskin and Freundlich’s Music for the Piano.  In their large survey of worthy piano pieces, the authors provide detailed background information for a relatively small number of composers; Reger is among those who merit an extended—and positively glowing—critique:

Reger’s enormous output for the piano is not well known in this country.  The music covers a wide variety of genres built upon an imposing and sometimes majestic polyphony that operates within a curiously unstable, chromatic harmony evolved from Schumann and Brahms.  The “characteristic” piano piece abounds.  These are loosely assembled into sheaves (Aus meinen Tagebuch, Episoden, Träume am Kamin, etc.).  They include both lyric and dramatic essays, often modeled on specific pieces of Schumann, Brahms or Chopin.  Most interesting are the humorous types “à la burlesca.”  They often constitute fascinating studies in skillful handling of the keyboard.  The two large sets of variations (on themes of Bach and Telemann) are among the mammoth works of the piano literature demanding the highest degree of pianistic virtuosity and musical insight.

Reger’s significance in the cultural heritage of German piano music lies in his intermediate position between Brahms and contemporary masters.  The pianism is demanding.  Thick textures, leaps, intricate polyphony, wide dynamic range, bravura playing, delicate balance of the parts; in short, all the problemns of first-class keyboard control are here present.  The style is often crowded with details, the more extended works herculean in concept.  To mention that Reger deserves the attention of the serious student is the very least one can say of this musician, so greatly esteemed by his contemporaries.

This intriguing and enthusiastic description inspired me to seek out some of Reger’s music, so I purchased two volumes:  a compilation of selected works (published by Schott) and the set of Intermezzi Op. 45 (Universal Music).  I admit I haven’t seriously explored this music, but I’ve never actually heard any of it performed.  I think that the dearth of easily accessible recordings (e.g., YouTube, etc.) is a big reason why it remains underexposed.

[birba]

I have that book.  Too bad it was never updated by some living colleagues.

[thalbergmad]

I have not heard this Intermezzo and much I have heard of Reger has not appealed to me, apart from the Telemann variations that I consider to be a masterpiece.

Thal

[presto agitato]

Audio:

[ahinton]

It is indeed true that, even today, Reger's piano works are under-appreciated, but then much the same remains the case for most of his music. There are certainly far more recordings of his work now than was once the case, but even his organ works (for which he has arguably been best known over the years) do not feature often in recitals, still less his large corpus of songs for voice and piano and his considerable quantity of chamber music. Where to start? Well, with the piano music, some of the "character" pieces and the Bach Variations - with the organ works and songs, almost anywhere, really; the quartets are well worth getting to know as well, especially those in F# minor and E flat.

If there are quibbles with Reger, they are perhaps that he had a tendency at times to over-egg the pudding, to sacrifice an acute sense of direction in favour of the harmonic twists and turns of the moment and simply to write too much but, these caveats aside, his comparative neglect almost a century after his death remains as surprising as it is inexcusable.

Best,

Alistair