Max Reger (1873–1916) Selected Piano Works
Urtext edited by Peter Roggenkamp [pno-4hd]
Here is a selection of pieces for four hands, which the well-known pianist and teacher Peter Roggenkamp has compiled and edited from the Reger Complete Edition. Piano teachers will be delighted to hear that all twenty “German Dances” Op. 10, a collection of medium difficulty, are reproduced in this volume.
72 pages | 23 x 30,5 cm | 274 g | ISMN: 979-0-004-17660-3 | Softbound
|German Dances Op. 10|
|Waltz Op. 22/1|
|Burlesques Op. 58/6|
|Piece Op. 94/5|
|Piece Op. 94/6|
Max Reger devoted a large part of his compositional oeuvre to the piano. But even 70 years after his death, Reger's piano works are still hardly known. Our twovolume selection of pieces for piano two-hands (EB 8466/ 67) has already provided a good cross-section of his piano writing that is an enhancement to concert life and a valuable addition to study and teaching literature.
This new book of selected pieces is devoted to Reger's extensive oeuvre for piano four-hands. The only work printed in its entirety is the collection of “German Dances” Op. 10; undoubtedly conceived as a cyclical work, it can be played by two performers of differing levels of proficiency, since the secondo part is considerably easier than the primo part. The last two pieces from Op. 94 are closely related. Without being designated as such by the composer, they correspond to each other like “Prelude and Fugue”. Reger's often praised humor sparkles in the last of the “6 Burlesken” Op. 58, which bears the performance instruction “as livefy and boisterousfy as possible”. The composer uses as his theme the popular folksong “O, du lieber Augustin'. While a virtuoso figuration in the primo part recalls Johann Strauss' “Fledermaus” waltz, in bar 58 Reger quotes the famous chord from Richard Strauss' “Till Eulenspiegel”, composed a few years previously.
Our present edition follows the Complete Edition, published by Breitkopf & Härtel. No changes were made save for the correction of a few obvious printing errors. The editor added fingerings where he deemed it important or useful for the performer. At many places, only a few hints were needed; at others, more detailed indications were necessary in order to help the players correctly bring out the complex texture of the parts and realize the demanding phrasing.
We hope that this selection of pieces for piano four-hands will give a variety of impulses and insights to everyone working on this genre of compositions by Max Reger.
Hamburg, Fall 1989 Peter Roggenkamp