Search

Johann Baptist Joseph Maximilian Reger is best known for his organ compositions. He favored the genres of the Baroque. He treated and developed the genres of chorale prelude, fugue and fantasia in his own individual way. He was inspired by his friend and performer Karl Straube (1873-1950), organist of the St. Thomas Church in Leipzig, who provided him with inspiration and ideas for his compositions. The present study focuses on the chorale fantasias pertaining to the composer's group of works for organ. These compositions by Reger are considered to be seminal works of organ literature. They were composed in a short period between 1898 and 1900. Reger designed the registration of the organ works for the disposition of German late Romantic organs, which are characterized by a faithful imitation of an orchestral sound. Formally, they follow the structure of the Baroque chorale variation and chorale partita. The titles of the chorale fantasias echo the opening lines of the sacred hymns they are based on. The melodies date from the 16th and 17th centuries and belong to the hymn repertoire of German Lutheran congregations. Some of them can also be found in the Hungarian Reformed congregational hymnal. [ABSTRACT FROM AUTHOR]

Johann Baptist Joseph Maximilian Reger is best known for his organ compositions. He favored the genres of the Baroque. He treated and developed the genres of chorale prelude, fugue and fantasia in his own individual way. He was inspired by his friend and performer Karl Straube (1873-1950), organist of the St. Thomas Church in Leipzig, who provided him with inspiration and ideas for his compositions. The present study focuses on the chorale fantasias pertaining to the composer’s group of works for organ. These compositions by Reger are considered to be seminal works of organ literature. They were composed in a short period between 1898 and 1900. Reger designed the registration of the organ works for the disposition of German late Romantic organs, which are characterized by a faithful imitation of an orchestral sound. Formally, they follow the structure of the Baroque chorale variation and chorale partita. The titles of the chorale fantasias echo the opening lines of the sacred hymns they are based on. The melodies date from the 16th and 17th centuries and belong to the hymn repertoire of German Lutheran congregations. Some of them can also be found in the Hungarian Reformed congregational hymnal.