Bach - Piano Transcriptions Vol. 7 - Max Reger

CD1
Prelude and Fugue in D major, BWV532
Movement 1: Prelude
Movement 2: Fugue
Mensch, bewein' dein' Sünde gross, BWV622
Durch Adams Fall ist ganz verderbt, BWV637
Ach wie nichtig, ach wie flüchtig, BWV644
Nun danket alle Gott, BWV657
Herzlich tut mich verlangen, BWV727
Wenn wir in höchsten Noten sein 'Vor deinen Thron tret ich', BWV668
Valet will ich dir geben, BWV736
Es ist das Heil uns kommen her, BWV638
Liebster Jesu, wir sind hier, BWV730
Vom Himmel hoch, da komm ich her, BWV606
Prelude and Fugue in E flat major 'St Anne', BWV552
Movement 1: Prelude
Movement 2: Fugue

CD2
Prelude and Fugue in E minor 'The wedge', BWV548
Movement 1: Prelude
Movement 2: Fugue
Christ lag in Todesbanden, BWV Anh 171
Ich ruf' zu dir, Herr Jesu Christ, BWV639
An Wasserflüssen Babylon, BWV653b
Komm, heiliger Geist Herre Gott, BWV651
Schmücke dich, o liebe Seele, BWV654
Das alte Jahr vergangen ist, BWV614
Toccata and Fugue in D minor, BWV565
Complete: Toccata and Fugue

Markus Becker - piano

Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916) was a German composer, conductor, pianist, organist, and academic teacher. Reger produced an enormous output over little more than 25 years, nearly always in abstract forms. Few of his compositions are well known in the 21st century. Many of his works are fugues or in variation form, including what is probably his best known orchestral work, the Variations and Fugue on a Theme by Mozart based on the opening theme of Mozart's Piano Sonata in A major, K. 331. He also wrote a large amount of music for organ, including the Fantasy and Fugue on BACH. He was particularly attracted to the fugal form his entire life. He created music in almost every genre but opera and the symphony. A firm supporter of absolute music, he saw himself as being part of the tradition of Beethoven and Brahms. His work often combines the classical structures of these composers with the extended harmonies of Liszt and Wagner, to which he added the complex counterpoint of Bach. His organ music, though also influenced by Liszt, was provoked by that tradition. Some of the works for solo string instruments turn up often on recordings, though less regularly in recitals. His solo piano and two-piano music places him as a successor to Brahms in the central German tradition. He pursued intensively, and to its limits, Brahms's continuous development and free modulation, often also invoking, like Brahms, the aid of Bach-influenced polyphony.

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