Max REGER (1873-1916)
Organ Works - Volume 6
Introduction, Passacaglia and Fugue in E minor, Op.127 (1913) [31:18]
Easy Chorale Preludes, Op.67 (excerpts) (1901-2) [15:12]
Chorale Preludes, Op.79b (excerpts) (1904) [2:47]
12 Pieces, Op.80, nos. 5-7 (1902-4) [15:03]
Praeludium in C minor, WoO8 no.6 (1900) [1:11]
Fugue in C minor, WoO4 no.8 (1901) [2:42]
Kleine Choralvorspiele, Op.135a nos. 1-15 (1914) [23:26]
Prelude and Fugue in D minor, WoO4 no.10 (1902) [6:40]
Kleine Choralvorspiele, Op.135a nos. 16-30 [26:35]
Postludium in D minor, WoO4 no.12 (1903) [2:26]
Gerhard Weinberger (organ)
rec. 2018, Steinmeyer Organ (1911), Christuskirche, Manheim; Bittner Organ (1913), Kirche St. Walburga, Beilngries, Germany
Reviewed in CD stereo
CPO 7775392 SACD [64:20 + 63:00]
With Volume 6, Gerhard Weinberger must now be three-quarters through his traversal of the complete organ works of Max Reger. I had the pleasure of reviewing Volumes 4 and 5 (review ~ review) and, as each new release comes along, the cycle goes from strength to strength. Like its predecessors, historical instruments from the composer's day are used. In this case we have two fine instruments: CD 1 features the Steinmeyer Organ (1911), from the Christuskirche, Manheim, whilst CD 2 presents the Bittner Organ (1913), housed in the Kirche St. Walburga, Beilngries, Germany. Both instruments have undergone recent restorations.
As a curtain raiser, guaranteed to grab the attention, the set opens with its most substantial piece, the Introduction, Passacaglia and Fugue in E minor Op 127, a late work composed in 1913 and dedicated to Karl Straube, who played the premiere in Breslau on 24 September. It's often been described as monumental. The weighty central section is a passacaglia with 26 variations. This is based on a theme which uses eleven of the twelve notes of the chromatic scale. The music builds in intensity throughout and culminates in a burly double fugue. The Prelude and Fugue in D minor, WoO IV/10 was published in 1902. Weinberger employs many dynamic contrasts during the course of the Prelude, and the registration choices reveal the versatility of the Bittner Organ. A four part fugue, crisply delineated, acts as a complement, building up to an impressive climax at the end. Staying with the Bittner, we close with the Postludium in D minor, WoO4 no.12. Written in Munich in 1904, it opens with a flourish in the shape of upward arpeggiated chords. A short fugue follows, and this leads to a coda in which we hear the instrument in its full majestic splendour.
The Thirty Little Chorale Preludes, op.135a are set out in two groups of fifteen each. They add an element of contrast after the more grandiose pieces. They are absolute gems, whose charm and allure lie in their simplicity and heavenly harmonies. They are a delight to listen to. Also in a lighter vein are the selection of three pieces (5-7) from Zwölf Stücke, Op. 80. The Ave Maria (no. 5) radiates a glowing intimacy, reflected in Weinberger's registration choice, whereas No. 7 is a whimsical scherzo, light-hearted and fickle.
True to form with this label, the annotations are packed with detailed information, in German and English, both on the music performed and the organs used. The imaginative choice of registrations ideally showcases both the music and the instruments employed, coupled with the thrill of a vivid recording. Weinberger's cycle continues to make a compelling case for this fine body of organ music.
Stephen Greenbank
