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variations & fugues
Price: € 11,99
WWE 1CD 20108

variations & fugues

1
Thema Andante grazioso 02:15 Share
2
Variation I L´istesso tempo 02:15 Share
3
Variation II Poco agitato 01:39 Share
4
Variation III Con moto 01:01 Share
5
Variation IV Vivace 00:44 Share
6
Variation V Quasi presto 01:28 Share
7
Variation VI Sostenuto 02:21 Share
8
Variation VII Andante grazioso 02:26 Share
9
Variation VIII Moderato 02:34 Share
10
Fuge - Allegretto grazioso 08:00 Share
11
Allegro moderato 03:45 Share
12
Overtura - Fuga 15:30 Share
13
Thema Andante 01:38 Share
14
Variation I Un poco piu lento 01:56 Share
15
Variation II Agitato 01:18 Share
16
Variation III Andantino grazioso 01:51 Share
17
Variation IV Andante sostenuto 02:04 Share
18
Variation V Appassionato 01:11 Share
19
Variation VI Andante sostenuto 02:20 Share
20
Variation VII Vivace 00:49 Share
21
Variation VIII Sostenuto 02:20 Share
22
Variation IX Vivace 01:04 Share
23
Variation X Poco vivace 01:19 Share
24
Variation XI Andante con grazia 01:23 Share
25
Variation XII Allegro pomposo 02:14 Share
26
Fuge Allegro con spirito 04:58 Share
Total Time 01:10:23
Some of his composing contemporaries looked not at all benevolently at Reger; but it wasn't easy for him, either, at a time that witnessed both the final outbursts of romantic exaggeration and revolutionary innovations. Reger's affinity to complex counterpoint structures and old musical forms made him suspicious in the eyes of his progressive colleagues, whereas his rather liberal approach to tonality tended to antagonize the conservative faction. His cycles of variations for orchestra, which he also adapted for two pianos, are still among his best-known (and most popular) works. The theme of the Sonata in A major KV 331 is the starting point for the Mozart variations op. 132 (1914), in which Reger (more or less in passing) proves his counterpoint mastery in an exemplary manner, similar to the way shown in his Beethoven variations of 1904. And Grau and Schumacher also let Mozart and Beethoven get a fugue in edgewise: first Mozart's Fugue in C minor, still rooted in the baroque prototype, then Beethoven's Great fugue, combining all the tricks of the counterpoint trade with maximum individualistic expressive force. Grau and Schumacher: the personification of pianistic and chamber-music unity.

1CD

Instrumental

Piano

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