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WWE 1CD 20108
variations & fugues
1
Thema Andante grazioso 02:15
2
Variation I L´istesso tempo 02:15
3
Variation II Poco agitato 01:39
4
Variation III Con moto 01:01
5
Variation IV Vivace 00:44
6
Variation V Quasi presto 01:28
7
Variation VI Sostenuto 02:21
8
Variation VII Andante grazioso 02:26
9
Variation VIII Moderato 02:34
10
Fuge - Allegretto grazioso 08:00
11
Allegro moderato 03:45
12
Overtura - Fuga 15:30
13
Thema Andante 01:38
14
Variation I Un poco piu lento 01:56
15
Variation II Agitato 01:18
16
Variation III Andantino grazioso 01:51
17
Variation IV Andante sostenuto 02:04
18
Variation V Appassionato 01:11
19
Variation VI Andante sostenuto 02:20
20
Variation VII Vivace 00:49
21
Variation VIII Sostenuto 02:20
22
Variation IX Vivace 01:04
23
Variation X Poco vivace 01:19
24
Variation XI Andante con grazia 01:23
25
Variation XII Allegro pomposo 02:14
26
Fuge Allegro con spirito 04:58
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.
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