I bought the CD. Better sound quality! And I loaned your notescore and glued them on the audio... That way can sing along! Endless harmonic variations with Reger. You never know what chord will follow. Beautiful!
Google translate: The GewandhausChor under the direction of Gregor Meyer and the Gewandhaus Children's Choir under the direction of Frank-Steffen Elster bring the soloists Dorothea Wagner (soprano), Marie Henriette Reinhold (alto), Florian Sievers (tenor) and Gundel Jannemann-Fischer (oboe ), the Reinhold Quartet and the Gewandhaus organist Michael Beauty (organ) the rarely heard five choral cantatas by Max Reger. Dietrich Reinhold (Vl), Tobias Haupt (Vl), Norbert Tunze (Va) and Christoph Vietz (Vc) play from the Reinhold Quartet, expanded by Rainer Hucke (Kb). 00:00 "From heaven high, here I come" WoO V/4 No. 1 for Christmas 17:41 "O how blessed are you, you pious ones" WoO V/4 No. 2 for the feast of the dead 33:56 "O head full of blood and wounds" WoO V/4 No. 3 for the Passiontide 50:58 "I will not leave my Jesus" WoO V/4 No. 4 59:51 "Arose, risen" WoO V/4 No. 5 for Easter origin background The chorale cantatas by Max Reger (1873-1916) are among those works that were intended to form a counterpoint to his complicated works. This counterpoint became necessary due to the poor saleability and thus only sluggish distribution of such works, which were very dear to Reger, brought him fame in the second Weiden period 1898-1901, but were soon considered unplayable. (i, p. 140f.) He turned to utility music for home and church and soon there was close contact with the editors of two church newspapers, the “Blätter für Haus- und Kirchenmusik” (Langensalza) and the “Monatschrift für Gottes und Church Art” (Strasbourg), Ernst Rabich and Friedrich Spitta with Julius Smend. (i, p. 140f.) At the suggestion of Spitta, a.o. 40 choral movements for the church year as "The Protestant Children's Choir" WoO VI/17 and later, during the Munich period, these same chorale cantatas WoO V/4 (i, p. 140f.), which were to appear as a supplement to Spitta's magazine. (i, p. 194) origin story The five chorale cantatas were written around 1903-'05 and thus during Reger's time in Munich, where he attracted attention as a provocateur. His most complicated and progressive operas, including the "70s", were created here. The first choral cantata was written in Schneewinkl in 1903, parallel to the completion of the opp. 71-73 and revision work on the Hugo Wolf estate. "Reger soon resolved to work on chorales for Pentecost, Easter, Harvest Festival, Dead Sunday, Day of Repentance and Prayer, Reformation Festival in the technically simplest execution, and thus to give the possible church music works that even the smallest place could perform can!” (i, p. 194) About the edition he writes: “The ideal of this arrangement was the greatest possible simplicity with the most attractive variety of the individual verses”. It should be of "popular comprehensibility": "hence the 'weaving' of the folk song 'Silent Night, Holy Night!'" (i, p. 194) The second chorale cantata followed at the end of December 1903. In May of the following year, No. 3 about his favorite chorale "O Haupt voll Blut und Wunden". (i, p. 194) No. 4 was created thanks to his connection to the University Church in Leipzig and its cantor, Hans Hofmann. He gave him a commission to compose a new chorale cantata, which Reger was to follow with “I don’t let my Jesus”. (i, p. 259) The No. 5 on the Easter chorale "Resurrected, Resurrected" remains unfinished. (i, p. 194) It lacks the playing instructions, dynamic markings, phrasing slurs etc. typical of Reger in red ink, while the musical text written in black ink is complete. performances The chorale cantatas enjoyed great popularity, while today they have, I would like to say, almost been forgotten. No. 4 was heard with the newly founded university church choir at its first appearance as part of a service on the Sunday of the Dead in 1906. The Leipzig newspaper praised it as a "piece of original, noble music (...) rich in beautiful thoughts and language". (i, p. 259) In 1910, the serious illness of Max Reger's mother gave his wife Elsa Reger dark thoughts. So she was already planning the funerals for Max and herself. On October 2, 1910, she wrote to Hans von Ohlendorff that No. 4 should be performed for the former and No. 3 for her own. (i, p. 345) Parallels to op. 145 It is interesting that some cantatas in op. 145, written about ten years later, are remembered. So in op. 145/3 "Vom Himmel hoch" is also combined with "Silent Night" and the idea of the chorale melody mininution in No. 5 is used again in op. 145/5.
Wunderbahr! I will buy the CD to have better quality. There is some distortion in the choir. And the bass notes from the organ (32ft) will drop the paintings from the wall. Great...!
The big question is: why do they sing often just too low... The music and the mix is great. So is the emotion expressed. But why too low....? Can we fix it with auto tune...?
I recognized your comment and the one big question you keep asking, I cannot provide you with an answer, which would though be much easier if one had a specific section mentioned since we are talking about over an hour of music. I also saw your latest update which consists of my video having been taken and synchronized with a new audio. I kindly ask you to put that upload with my video material on 'private' and provide the link to people who are interested, since lots of hours of work went into editing the score. Those hours could be appreciated more through own experience for instance by a different alternative; also doing the video editing. The scores are all to be found on IMSLP.
@@o.t.tjabben7543 Sorry ! Yes I should have put it just on private. It's done. Please accept my apologies. The next question is the order of cantates. I would think the CD (which I bought to have better sound quality) would start with Christmas, than O haupt vol Blud, and last Auferstanden to follow the church year. But you changed the order... And the order on the CD is Resurrection, Pesach, Christmas. So a reversed order... Why oh why ? I wrote to my friends about the recording plus score, but not much people appreciated it. Only 45... I keep listening to the recording, often with your scores so I can see what the different singers have to do. I try to copy à bit (real small bit of what Reger does in my playing in church every Sunday. Endless variations in harmony and chord progression. Beautiful. Thanks again for your work ! Shalom to you. .
Bei 39:06? Finden Sie? Kann ich nachvollziehen. Ich denke aber, die Freiheit im Tempo ist eines der Mittel, die man zur abwechslungsreichen Gestaltung dieser doch sehr schwierigen Gattung hat - immerhin werden pro Kantate gnadenlos alle Strophen gesungen. Bei Nr. 1 sieht man, dass eine gewisse Gleichförmigkeit in der Ausführung über die Strophen recht schnell langatmig wird, denke ich. Da halte ich solche Entscheidungen für dramaturgisch sowie syntaktisch wertvoll, auch auf die Gefahr hin, dass es unrund wirken könnte. Fast würde ich mir noch mehr Tempowechsel wünschen... Meine Gedanken vielleicht zur Anregung. ;)
Nicht nur da, auch bei Vers 6 und 8. Ich gebe Ihnen recht, Tempomodifikationen sind bei Reger ein wichtiges Gestaltungsmittel. Doch verlaufen diese bei ihm immer organisch vorbereitet und wenn abrupt, dann aus Affektgründen. Gerade bei der von Ihnen genannten Stelle erscheint mir das weniger musikalisch motiviert, sondern mehr der Ausnahmesituation geschuldet. Es klingt so, als sei zwischen den Chorstrophen und den instrumentalen Zwischenspielen geschnitten worden und dann das vorausgegangene Tempo nicht wieder gefunden wurde.
Aufnahmeort: Michaeliskirche Leipzig.
this organ ensemble piece is so easy to listen to!
Great praise to Jesus. Never knew this existed.
I bought the CD. Better sound quality! And I loaned your notescore and glued them on the audio... That way can sing along! Endless harmonic variations with Reger. You never know what chord will follow. Beautiful!
Google translate:
The GewandhausChor under the direction of Gregor Meyer and the Gewandhaus Children's Choir under the direction of Frank-Steffen Elster bring the soloists Dorothea Wagner (soprano), Marie Henriette Reinhold (alto), Florian Sievers (tenor) and Gundel Jannemann-Fischer (oboe ), the Reinhold Quartet and the Gewandhaus organist Michael Beauty (organ) the rarely heard five choral cantatas by Max Reger.
Dietrich Reinhold (Vl), Tobias Haupt (Vl), Norbert Tunze (Va) and Christoph Vietz (Vc) play from the Reinhold Quartet, expanded by Rainer Hucke (Kb).
00:00 "From heaven high, here I come" WoO V/4 No. 1
for Christmas
17:41 "O how blessed are you, you pious ones" WoO V/4 No. 2
for the feast of the dead
33:56 "O head full of blood and wounds" WoO V/4 No. 3
for the Passiontide
50:58 "I will not leave my Jesus" WoO V/4 No. 4
59:51 "Arose, risen" WoO V/4 No. 5
for Easter
origin background
The chorale cantatas by Max Reger (1873-1916) are among those works that were intended to form a counterpoint to his complicated works. This counterpoint became necessary due to the poor saleability and thus only sluggish distribution of such works, which were very dear to Reger, brought him fame in the second Weiden period 1898-1901, but were soon considered unplayable. (i, p. 140f.) He turned to utility music for home and church and soon there was close contact with the editors of two church newspapers, the “Blätter für Haus- und Kirchenmusik” (Langensalza) and the “Monatschrift für Gottes und Church Art” (Strasbourg), Ernst Rabich and Friedrich Spitta with Julius Smend. (i, p. 140f.) At the suggestion of Spitta, a.o. 40 choral movements for the church year as "The Protestant Children's Choir" WoO VI/17 and later, during the Munich period, these same chorale cantatas WoO V/4 (i, p. 140f.), which were to appear as a supplement to Spitta's magazine. (i, p. 194)
origin story
The five chorale cantatas were written around 1903-'05 and thus during Reger's time in Munich, where he attracted attention as a provocateur. His most complicated and progressive operas, including the "70s", were created here.
The first choral cantata was written in Schneewinkl in 1903, parallel to the completion of the opp. 71-73 and revision work on the Hugo Wolf estate. "Reger soon resolved to work on chorales for Pentecost, Easter, Harvest Festival, Dead Sunday, Day of Repentance and Prayer, Reformation Festival in the technically simplest execution, and thus to give the possible church music works that even the smallest place could perform can!” (i, p. 194) About the edition he writes: “The ideal of this arrangement was the greatest possible simplicity with the most attractive variety of the individual verses”. It should be of "popular comprehensibility": "hence the 'weaving' of the folk song 'Silent Night, Holy Night!'" (i, p. 194)
The second chorale cantata followed at the end of December 1903. In May of the following year, No. 3 about his favorite chorale "O Haupt voll Blut und Wunden". (i, p. 194)
No. 4 was created thanks to his connection to the University Church in Leipzig and its cantor, Hans Hofmann. He gave him a commission to compose a new chorale cantata, which Reger was to follow with “I don’t let my Jesus”. (i, p. 259)
The No. 5 on the Easter chorale "Resurrected, Resurrected" remains unfinished. (i, p. 194) It lacks the playing instructions, dynamic markings, phrasing slurs etc. typical of Reger in red ink, while the musical text written in black ink is complete.
performances
The chorale cantatas enjoyed great popularity, while today they have, I would like to say, almost been forgotten.
No. 4 was heard with the newly founded university church choir at its first appearance as part of a service on the Sunday of the Dead in 1906. The Leipzig newspaper praised it as a "piece of original, noble music (...) rich in beautiful thoughts and language". (i, p. 259)
In 1910, the serious illness of Max Reger's mother gave his wife Elsa Reger dark thoughts. So she was already planning the funerals for Max and herself. On October 2, 1910, she wrote to Hans von Ohlendorff that No. 4 should be performed for the former and No. 3 for her own. (i, p. 345)
Parallels to op. 145
It is interesting that some cantatas in op. 145, written about ten years later, are remembered. So in op. 145/3 "Vom Himmel hoch" is also combined with "Silent Night" and the idea of the chorale melody mininution in No. 5 is used again in op. 145/5.
Wunderbahr! I will buy the CD to have better quality. There is some distortion in the choir. And the bass notes from the organ (32ft) will drop the paintings from the wall. Great...!
Is that Beethoven's death mask in the thumbnail?
I'm pretty sure that's Reger ;)
@@o.t.tjabben7543I made a mistake, I meant Beethoven's life mask. Reger's lips seem fuller to me 😅
The big question is: why do they sing often just too low... The music and the mix is great. So is the emotion expressed. But why too low....? Can we fix it with auto tune...?
I recognized your comment and the one big question you keep asking, I cannot provide you with an answer, which would though be much easier if one had a specific section mentioned since we are talking about over an hour of music.
I also saw your latest update which consists of my video having been taken and synchronized with a new audio. I kindly ask you to put that upload with my video material on 'private' and provide the link to people who are interested, since lots of hours of work went into editing the score. Those hours could be appreciated more through own experience for instance by a different alternative; also doing the video editing. The scores are all to be found on IMSLP.
@@o.t.tjabben7543 Sorry ! Yes I should have put it just on private. It's done. Please accept my apologies.
The next question is the order of cantates. I would think the CD (which I bought to have better sound quality) would start with Christmas, than O haupt vol Blud, and last Auferstanden to follow the church year. But you changed the order...
And the order on the CD is Resurrection, Pesach, Christmas. So a reversed order...
Why oh why ?
I wrote to my friends about the recording plus score, but not much people appreciated it. Only 45...
I keep listening to the recording, often with your scores so I can see what the different singers have to do. I try to copy à bit (real small bit of what Reger does in my playing in church every Sunday. Endless variations in harmony and chord progression. Beautiful.
Thanks again for your work !
Shalom to you. .
Wie ist die Registrierung der Einleitung der ersten Kantate?
Ich schätze einfach Aeoline 8' + Voix céleste 8'
@@o.t.tjabben7543und was denkst du ist die Registrierung in den Strophen der Gemeinde? Einfach ein Plenum?
Irritierend sind die aprupten Tempowechsel in „O Haupt voll Blut und Wunden“, wenn der Chor einsetzt.
Bei 39:06? Finden Sie? Kann ich nachvollziehen. Ich denke aber, die Freiheit im Tempo ist eines der Mittel, die man zur abwechslungsreichen Gestaltung dieser doch sehr schwierigen Gattung hat - immerhin werden pro Kantate gnadenlos alle Strophen gesungen. Bei Nr. 1 sieht man, dass eine gewisse Gleichförmigkeit in der Ausführung über die Strophen recht schnell langatmig wird, denke ich. Da halte ich solche Entscheidungen für dramaturgisch sowie syntaktisch wertvoll, auch auf die Gefahr hin, dass es unrund wirken könnte. Fast würde ich mir noch mehr Tempowechsel wünschen... Meine Gedanken vielleicht zur Anregung. ;)
Nicht nur da, auch bei Vers 6 und 8. Ich gebe Ihnen recht, Tempomodifikationen sind bei Reger ein wichtiges Gestaltungsmittel. Doch verlaufen diese bei ihm immer organisch vorbereitet und wenn abrupt, dann aus Affektgründen. Gerade bei der von Ihnen genannten Stelle erscheint mir das weniger musikalisch motiviert, sondern mehr der Ausnahmesituation geschuldet. Es klingt so, als sei zwischen den Chorstrophen und den instrumentalen Zwischenspielen geschnitten worden und dann das vorausgegangene Tempo nicht wieder gefunden wurde.
The hard question is... Why do they often sing out of tune? Always a little too low?