270:
367:
254:—or newly composed. The cantus firmus either plays continuously throughout a prelude or can be broken up by short passages of the accompanying motifs. In general the figural chorale preludes show a number of common features: individual pieces have a rhythmic uniformity; the motifs derived from the chorale mostly are limited to introductory bars; the accompaniment is rarely formed from just one motif or rhythmic element; and there is an overall preference for free counterpoint rather than imitation. Harvey Grace criticized Reger's tendency to introduce promising motifs, sometimes heard in imitation between the parts, only to abandon them once the cantus firmus entered.
45:
194:, published posthumously in 1902, which uses a double echo effect and has a similar mood of "melancholic leave-taking". Reger's compositional style in the preludes, although intended to be simple from a technical point of view, was musically complex, occasionally mirroring musical features of chorale preludes in Bach's collection: Reger's setting of "Machs mir, Gott, nach deiner GĂĽt" has several similarities with
250:. These form the bulk of the collection, all but thirteen of the preludes having this form. Of the figurative chorales, three are ornamental chorale preludes, a genre described in further detail below. The figural chorale preludes have an accompaniment built up from one or more figure or motif either directly derived from the cantus firmus—often by
259:
144:, composed between 1900 and 1902. Originally published in three volumes between 1900 and 1903 with the cover title "52 Choralvorspiele für Orgel" (52 chorale preludes for organ), the full title of the collection was "Zweiundfünfzig leicht ausführbare Vorspiele zu den gebräuchlichsten evangelischen Chorälen".
356:
330:
explains, in pieces like "Aus tiefer Not, schrei ich zu dir" (No. 3), "Jauchs, Erd, und Himmel, juble hell" (No. 15) and "Mach's mit mir, Gott, nach deiner GĂĽt" (No. 25), a more moderate tempo enables the listener to take in the changing sonorities, subtle dissonances or brilliant semiquaver passage
285:
There are three such chorale preludes (Nos. 5, 13 and 25). Written in 4 parts for two manual keyboards and pedal, they are written in four parts with a highly elaborate version of the cantus firmus in the soprano voice. The elaboration can occasionally become so florid and complex that it is hard to
261:
223:
wrote of the chorale preludes in Op. 67 and Op. 79b, "In spite of their contrapuntal art and link with the motivic work of the old organ chorales, they represent no advancement on the depth of religious expression found in Bach's models. Many are merely workmanlike, but if a chorale rests on Reger's
214:
as showing Reger "at his best". In 1961 the
American organist Allan Bacon commented on "the enormous disparity between the various pieces from the standpoint of sheer technical difficulty," describing some as "tenderly naive, flowly gently along" while others were only playable by virtuoso organists
160:
in 1900, he wrote the majority of the prelude in Munich between
September 1901 and October 1902. Reger's full title for the collection, "Zweiundfünfzig leicht ausführbare Vorspiele zu den gebräuchlichsten evangelischen Chorälen", has been translated as "Fifty-two easy preludes on the most common
358:
302:
There are four such preludes (Nos. 38, 39, 43 and 49), which mix two of the above genres: in the first three some phrases are set according to the figural model, with a motivic accompaniment for the cantus firmus; the other "echo" responses take the simpler form of homophonic chorale
185:
as amongst the most beautiful. There is a musical "echo effect" in each of these pieces, with the chorale played a second time only on the manuals with a subdued dynamic. The musicologist
Christopher Anderson compares Reger's setting of "O Welt" with the last piece from
156:, Reger wrote, "None are technically difficult and the melodies have been collected by an organist of 30 years experience. I can surely say without any arrogance that since J. S. Bach, no such collection has been published!" While he composed some settings in
244:—the chorale melody—in the soprano, sometimes also shared with the pedal; in No. 52 the melody is wholly in the pedal part. The distinguishing feature of these preludes is that the accompaniment is not constructed from motives derived from the cantus firmus.
169:. The wording of the title reflects Reger's concern that his shorter pieces should be accessible and without technical difficulties: his organ works had previously been criticized for being too difficult and complex. In a 1904 letter to his friend
161:
Lutheran chorales". They were originally published in three volumes with the cover title "52 Choralvorspiele für Orgel" (52 chorale preludes for organ) between 1900 and 1903: Volume 1, Nos. 1–15; Volume 2, Nos. 16–36; Volume 3, Nos. 37–52.
260:
357:
164:
The idea of writing such a collection dates back to 1893. Its size and form—short pieces with four-part writing and almost no episodes—has similarities with the 46 "minuaturist" chorale preludes of Bach's
326:
The tempos for many of the chorale preludes are slow, as illustrated in Reger's own recordings; when he indicated a slow tempo, he would frequently add parenthetically "but not dragging". As
236:. These are the most accessible of the chorale preludes, of varying degrees of complexity. There are eight such preludes (Nos. 19, 20, 29, 33, 37, 45, 50 and 52). They are
224:
innermost religious convictions—such as 'Auf tiefer Not', 'Herzlich tut mich verlangen' and 'O Welt ich muss dich lassen'—then these preludes express pious emotion."
1446:
758:
1696:, CD including Reger's 1913 organ roll recordings of seven of the 52 chorale preludes, Op. 67 on the Welte-Philharmonic Organ, Oehms Records, 2013.
1410:
17:
1677:
374:
The 52 pieces are based on the following chorales which are mostly arranged alphabetically. The chorale preludes fall into five types:
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2041:
2011:
1672:
1668:
2273:
605:
1065:
269:
2033:
1126:
659:
1196:
Regarded at the time as instruments of prestige, Philharmonic Organs were built for worldwide distribution, including for
2164:
1873:
743:
1111:
1035:
1693:
540:
204:
Reger's op. 67 represents his most significant contribution to the genre of chorale prelude. In 1916, the musicologist
274:
2253:
1379:
402:), a combination of the above. The list also specifies the number of voices in the piece and indicates which voices (
423:
1585:
989:
452:
2136:
1050:
1004:
940:
674:
525:
177:, advising him on which pieces to perform in a Leipzig recital, Reger indicated his own preferences, picking out
895:
319:. Two years later they solicited recordings from well-known organists on an improved model in their factory in
1430:"Zweiundfünfzig leicht ausführbare Vorspiele zu den gebräuchlichsten evangelischen Chorälen Op. 67 / für Orgel"
1358:
555:
366:
307:
In 1913 Reger recorded organ rolls of Nos. 20, 23, 25, 33, 45, 50 and 52 on the mechanical
Philharmonic Organ (
1928:
2127:
570:
494:
1429:
785:
1960:
1749:
827:
1425:
Appendix C contains a table categorizing and briefly describing each of the 52 chorale preludes in Op. 67.
1096:
620:
2278:
2206:
2059:
974:
386:) with a motivic accompaniment often derived from the melody of the chorale; canonic chorale prelude (
2283:
2154:
2145:
1976:
866:
689:
467:
343:
to control the dynamics, there are now established ways—which can involve using assistants to change
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1654:
1616:
1401:
398:) with a highly elaborate version of the chorale in the highest voice; and hybrid chorale prelude (
50:
959:
800:
2196:
1905:
1445:
Becker, Alexander; Grafschmidt, Christopher; König, Stefan; Steiner-Grage, Stefanie, eds. (2014).
370:"Wer nur den lieben Gott lässt walten", Op. 67, No. 45, an example of a harmonized chorale prelude
2231:
1866:
187:
157:
152:
In a letter to the publishers
Lauterbach & Kuhn in 1902 when he had only composed 50 of the
2226:
2025:
2018:
1369:
375:
232:
2085:
1945:
1897:
64:
ZweiundfĂĽnfzig leicht ausfĂĽhrbare
Vorspiele zu den gebräuchlichsten evangelischen Chorälen
8:
2236:
2076:
1938:
1822:
1801:
1523:
1503:
1483:
1463:
316:
292:
There is only one such prelude, No. 51, written in four parts with the cantus firmus in
2201:
1859:
1642:
1604:
1389:
716:
2102:
1968:
1375:
1354:
210:
1625:
219:, who championed Reger's works during his lifetime. In his 1939 biography of Reger,
129:
1447:"Reger: 52 easy preludes for the most common Lutheran chorales op. 67, Volumes 1–3"
166:
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2095:
1992:
1952:
340:
191:
153:
1412:
A study of the use of the chorale in the works of
Mendelssohn, Brahms, and Reger
1984:
1913:
1201:
201:—one of Reger's favourites—with the same type of flattened sixth at the close.
1839:
1827:
1815:
1806:
1794:
1782:
1770:
1758:
1742:
1730:
1718:
1706:
1683:
331:
work on the organ. Although the latest German organs in Reger's day, built by
2267:
1543:"Reger's recordings on piano and organ rolls for the Welte Company, Freiburg"
1542:
1217:
413:
391:
332:
293:
241:
137:
1753:
336:
312:
216:
205:
174:
170:
1737:
1634:
1351:
Max Reger and Karl
Straube: Perspectives on an Organ Performing Tradition
1209:
1205:
220:
71:
1559:
1212:
prevented installation of the organ on the
Britannic, which sunk in the
2241:
2191:
1921:
1845:, Wout van Andel, Valckx & Van Kouteren organ, Sint-Gertrudiskerk,
1590:. Associated Performer's Editions. Vol. 7. Wayne Leupold Editions.
1213:
344:
315:. Welte brought out this organ in 1911, displaying it that year at the
251:
49:
Max Reger recording organ rolls of some of the chorale preludes on the
1415:. Ph.D. dissertation. Eastman School of Music, University of Rochester
1882:
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1765:
237:
141:
36:
44:
1725:
320:
85:
1846:
1834:
1777:
1197:
347:—to produce similar effects on organs of different construction.
195:
1713:
227:
The chorale preludes in Op. 67 can be divided into five types:
1524:"Reger Organ Works, Vol. 10, Op. 67, Nos. 39–52, liner notes"
1504:"Reger Organ Works, Vol. 16, Op. 67, Nos. 36–38, liner notes"
1851:
1484:"Reger Organ Works Vol. 15, Op. 67, Nos. 16–35, liner notes"
1464:"Reger Organ Works, Vol. 14, Op. 67, Nos. 1–15, liner notes"
1833:, Tjeerd van der Ploeg, Nicholson Organ, Christoforuskerk,
1812:, Arjen Leistra, Steendam organ, Eben Haëzerkerk, Apeldoorn
404:
133:
2121:
Phantasie ĂĽber den Choral "Ein' feste Burg ist unser Gott"
1253:
1251:
132:, is a collection of 52 settings of popular Protestant
1238:
1236:
1599:(in German) (2 ed.). Kassel: Merseburger Verlag.
1409:
Jordahl, Robert Arnold (1965). "Chapter III. Reger".
1282:
1280:
1278:
265:"Mach's mit mir, Gott, nach deiner GĂĽt", Op.67, No.25
1776:, Jan van der Wal, Detlef Keuker organ, Friesendom,
1248:
362:"Wer nur den lieben Gott lässt walten", Op.67, No.45
1680:, Eastman School of Music, University of Rochester.
1292:
1233:
1800:, Simon Stelling, Steinmeyer organ, Adventskerk,
1764:, Arjen Leistra, Steendam organ, Eben Haëzerkerk,
1275:
1690:, Op. 67, No. 25, on the Welte-Philharmonic Organ
1583:
1334:
1316:
394:between two voices; ornamental chorale prelude (
2265:
1304:
1263:
1724:, Arjen Leistra, Flentrop organ, St. Janskerk,
1595:Popp, Susanne (2007). Busch, Hermann J. (ed.).
1587:An Introduction to the Organ Music of Max Reger
1584:Anderson, Christopher; Billmeyer, Dean (2016).
1788:, Harm Woltjer, Schnitger organ, Martinikerk,
1867:
1821:, Jos van der Kooy, Christiaan MĂĽller organ,
1701:Live performances during Reger centenary year
1558:Rumsey, David; Haenggi, Christoph E. (2011).
1736:, Martin LĂĽcker, Vleugels organ, Domkirche,
1560:"The Origins of Seewen's Welte-Philharmonie"
893:
421:
240:, written for four or five voices, with the
62:
1874:
1860:
43:
2042:Variations and Fugue on a Theme by Mozart
2012:Variations and Fugue on a Theme by Hiller
1673:International Music Score Library Project
1428:
1257:
1712:, Jaap de Kok, Nijsse organ, Kruiskerk,
1597:Zur Quellenlage der Regerschen Orgelwerk
1367:
1348:
1298:
1242:
606:Herr, wie du willst, so schick's mit mir
365:
354:
327:
268:
257:
1408:
1286:
1141:Wie wohl ist mir, o Freund der Seelen:
773:Mach's mit mir, Gott, nach deiner GĂĽt:
296:between the soprano part and the pedal.
14:
2266:
1557:
1501:
1481:
1461:
1432:(in German). Max-Reger-Institute. 2017
1322:
1127:Wie schön leucht't uns der Morgenstern
1084:Wer nur den lieben Gott lässt walten:
1855:
1688:Mach's mit mir, Gott, nach deiner GĂĽt
1541:
1521:
1444:
1310:
1269:
924:Sollt' ich meinem Gott nicht singen?:
635:Jauchz, Erd, und Himmel, juble hell:
513:Dir, dir, Jehovah, will ich singen!:
273:Reger playing the Sauer organ in the
1784:Lobe den Herren, den mächtigen König
1594:
1066:Wer nur den lieben Gott lässt walten
854:O Jesu Christ, meines Lebens Licht:
759:Lobe den Herren, den mächtigen König
2165:Introduction, Passacaglia and Fugue
1748:, Bernhard Schneider, Klais organ,
744:Lobt Gott, ihr Christen alle gleich
731:Komm, o komm, du Geist des Lebens:
350:
24:
2034:Vier Tondichtungen nach A. Böcklin
1577:
1200:in London and for the ocean liner
660:Ich will dich lieben, meine Stärke
541:Herr Jesu Christ, dich zu uns wend
25:
2295:
1841:Vom Himmel hoch, da komm' ich her
1662:
1623:
1368:Anderson, Christopher S. (2013).
1349:Anderson, Christopher S. (2003).
815:Nun freut euch, lieben Christen:
1708:Allein Gott in der Höh' sei Ehr!
1694:The Britannic Organ 8: Max Reger
1342:
1112:Wer weiĂź, wie nahe mir mein Ende
1036:Warum sollt' ich mich den grämen
1023:Von Gott will ich nicht lassen:
990:Vom Himmel hoch, da komm ich her
526:Erschienen ist der herrlich' Tag
453:Aus tiefer Not schrei ich zu dir
197:O Mensch, bewein dein SĂĽnde groĂź
2274:Organ compositions by Max Reger
1829:Straf mich nicht in deinem Zorn
1720:Aus tiefe Not schrei ich zu dir
1051:Was Gott tut, das ist wohlgetan
1005:Wachet auf, ruft uns die Stimme
941:Straf mich nicht in deinem Zorn
675:Jerusalem, du hochgebaute Stadt
593:Gott des Himmels und der Erden:
275:Kaiser-Wilhelm-Gedächtniskirche
1328:
1190:
571:Freu' dich sehr, o meine Seele
556:Es ist das Heil uns kommen her
482:Christus, der ist mein Leben:
424:Allein Gott in der Höh sei Ehr
286:recognize the original melody.
13:
1:
1881:
1744:Jauchz, Erd und Himmel, juble
1374:. Routledge. pp. 91–93.
1335:Anderson & Billmeyer 2016
1227:
881:O Welt, ich muĂź dich lassen:
495:Ein feste Burg ist unser Gott
147:
1961:Der Mensch lebt und bestehet
1732:Christus, der ist mein Leben
896:SchmĂĽcke dich, o liebe Seele
828:Nun komm, der Heiden Heiland
647:Ich dank dir, lieber Herre:
382:); figural chorale prelude (
7:
1669:52 chorale preludes, Op. 67
1216:in 1916 while serving as a
786:Meinen Jesum laĂź' ich nicht
621:Herzlich tut mich verlangen
440:Alles ist an Gottes Segen:
283:Ornamental chorale prelude.
18:52 Chorale Preludes, Op. 67
10:
2300:
1686:of Reger's performance of
975:Vater unser im Himmelreich
233:Harmonized chorale prelude
179:O Welt ich muĂź dich lassen
2250:
2184:
2112:
2069:
2052:
2003:
1977:Unser lieben Frauen Traum
1889:
1760:Jesu Leiden, Pein und Tod
1627:Zur Orgelmusik Max Regers
1097:Werde munter, mein GemĂĽte
867:O Lamm Gottes, unschuldig
842:O Gott, du frommer Gott:
704:Jesus, meine Zuversicht:
690:Jesu Leiden, Pein und Tod
468:Aus meines Herzens Grunde
422:
317:World Exhibition in Turin
107:
91:
80:
70:
58:
42:
34:
29:
1808:O Lamm Gottes unschuldig
1183:
960:Valet will ich dir geben
290:Canonic chorale prelude.
51:Welte Philharmonic Organ
2232:Meiningen Court Theatre
2227:Schloss Elisabethenburg
1796:O Gott, du frommer Gott
1678:Record of first edition
300:Hybrid chorale prelude.
248:Figural chorale prelude
188:Eleven Chorale Preludes
2026:Eine romantische Suite
1772:Jesu, meine Zuversicht
894:
390:) with the chorale in
371:
363:
278:
266:
63:
2197:Adele Bloesch-Stöcker
2138:Drei Choralphantasien
2129:Zwei Choralphantasien
1906:Gesang der Verklärten
1371:Max Reger (1873–1963)
412:for pedal) share the
369:
361:
272:
264:
2254:List of compositions
1953:Lateinisches Requiem
801:Nun danket alle Gott
2237:Max-Reger-Institute
1939:Die Weihe der Nacht
1823:Grote Kerk, Haarlem
1802:Alphen aan den Rijn
1633:(in German). Bonn:
126:52 chorale preludes
30:52 chorale preludes
2202:Caesar Hochstetter
2060:Cello Sonata No. 1
1930:Geistliche Gesänge
1153:Jesus ist kommen:
717:Jesu, meine Freude
376:harmonized chorale
372:
364:
309:Philharmonie-Orgel
279:
267:
173:, organist at the
2279:1902 compositions
2261:
2260:
2103:Mariae Wiegenlied
1898:Drei Chöre, Op. 6
1522:Anderson, Keith.
1502:Anderson, Keith.
1482:Anderson, Keith.
1462:Anderson, Keith.
1204:, sister ship of
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211:The Musical Times
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16:(Redirected from
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2284:Preludes (music)
2185:Related articles
2168:, Op, 127 (1913)
1956:(1914, fragment)
1876:
1869:
1862:
1853:
1852:
1843:, Op. 67, No. 40
1831:, Op. 67, No. 37
1819:, Op. 67, No. 35
1810:, Op. 67, No. 32
1786:, Op. 67, No. 24
1774:, Op. 67, No. 20
1762:, Op. 67, No. 19
1746:, Op. 67, No. 15
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351:Chorale preludes
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154:chorale preludes
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2212:Johanna Senfter
2207:Jaroslav Kvapil
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2096:An die Hoffnung
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1999:
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1817:Seelenbräutigam
1798:, Op. 67, No.30
1734:, Op. 67, No. 5
1722:, Op. 67, No. 3
1710:, Op. 67, No. 1
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1624:Szabó, Balázs.
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1578:Further reading
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1529:. Naxos Records
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1509:. Naxos Records
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1489:. Naxos Records
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1469:. Naxos Records
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1208:; the onset of
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1134:, 4–5, c.f. in
1043:, 4–5, c.f. in
948:, 4–5, c.f. in
355:
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341:special devices
328:Anderson (2013)
303:harmonizations.
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192:Johannes Brahms
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2049:
2047:
2046:
2038:
2030:
2022:
2019:Piano Concerto
2016:
2007:
2005:
2001:
2000:
1998:
1997:
1989:
1985:Der Einsiedler
1981:
1973:
1965:
1957:
1949:
1943:
1935:
1926:
1918:
1914:Der 100. Psalm
1910:
1902:
1893:
1891:
1887:
1886:
1879:
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1850:
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1804:
1792:
1780:
1768:
1756:
1740:
1728:
1716:
1698:
1697:
1691:
1681:
1675:
1664:
1663:External links
1661:
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1621:
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1449:. Carus Verlag
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1258:Institute 2017
1247:
1231:
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1226:
1223:
1222:
1202:HMHS Britannic
1188:
1187:
1185:
1182:
1180:
1179:
1167:
1151:
1139:
1124:
1119:, 4, c.f. in
1109:
1094:
1082:
1063:
1048:
1033:
1021:
1002:
987:
972:
967:, 4+, c.f. in
957:
938:
929:, 4+, c.f. in
922:
910:
891:
879:
864:
852:
840:
825:
813:
798:
793:, 4, c.f. in
783:
771:
766:, 4+, c.f. in
756:
741:
729:
714:
702:
687:
672:
667:, 5, c.f. in
657:
645:
633:
618:
603:
591:
568:
553:
538:
533:, 4, c.f. in
523:
511:
502:, 4, c.f. in
492:
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445:, 4, c.f. in
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55:
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40:
39:
32:
31:
9:
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4:
3:
2:
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2203:
2200:
2198:
2195:
2193:
2190:
2189:
2187:
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2176:
2174:
2173:Sieben StĂĽcke
2170:
2167:
2166:
2162:
2159:
2157:
2153:
2150:
2148:
2144:
2141:
2139:
2135:
2132:
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2118:
2117:
2115:
2111:
2104:
2100:
2097:
2093:
2090:
2088:
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2079:
2075:
2074:
2072:
2068:
2061:
2058:
2057:
2055:
2051:
2044:
2043:
2039:
2036:
2035:
2031:
2028:
2027:
2023:
2020:
2017:
2014:
2013:
2009:
2008:
2006:
2002:
1995:
1994:
1990:
1987:
1986:
1982:
1979:
1978:
1974:
1971:
1970:
1966:
1963:
1962:
1958:
1955:
1954:
1950:
1947:
1944:
1941:
1940:
1936:
1933:
1931:
1927:
1924:
1923:
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1916:
1915:
1911:
1908:
1907:
1903:
1900:
1899:
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1872:
1870:
1865:
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1644:
1637:. p. 19.
1636:
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1403:
1391:
1383:
1381:9781136497902
1377:
1373:
1372:
1366:
1362:
1356:
1353:. Routledge.
1352:
1347:
1346:
1343:Cited sources
1336:
1331:
1324:
1319:
1312:
1307:
1300:
1299:Anderson 2003
1295:
1288:
1283:
1281:
1279:
1271:
1266:
1259:
1254:
1252:
1244:
1243:Anderson 2013
1239:
1237:
1232:
1219:
1218:hospital ship
1215:
1211:
1207:
1203:
1199:
1193:
1189:
1177:
1174:, 5, c.f. in
1173:
1169:O wie selig:
1168:
1165:
1161:
1158:, 4, c.f. in
1157:
1152:
1149:
1146:, 5, c.f. in
1145:
1140:
1137:
1133:
1128:
1125:
1122:
1118:
1113:
1110:
1107:
1104:, 5, c.f. in
1103:
1098:
1095:
1092:
1089:, 5, c.f. in
1088:
1083:
1080:
1076:
1073:, 5, c.f. in
1072:
1067:
1064:
1061:
1058:, 5, c.f. in
1057:
1052:
1049:
1046:
1042:
1037:
1034:
1031:
1028:, 4, c.f. in
1027:
1022:
1019:
1015:
1012:, 5, c.f. in
1011:
1006:
1003:
1000:
997:, 4, c.f. in
996:
991:
988:
985:
982:, 5, c.f. in
981:
976:
973:
970:
966:
961:
958:
955:
951:
947:
942:
939:
936:
932:
928:
923:
920:
917:, 4, c.f. in
916:
911:
908:
905:, 4, c.f. in
904:
898:
897:
892:
889:
886:, 5, c.f. in
885:
880:
877:
874:, 4, c.f. in
873:
868:
865:
862:
859:, 4, c.f. in
858:
853:
850:
847:, 4, c.f. in
846:
841:
838:
835:, 5, c.f. in
834:
829:
826:
823:
820:, 4, c.f. in
819:
814:
811:
808:, 4, c.f. in
807:
802:
799:
796:
792:
787:
784:
781:
778:, 4, c.f. in
777:
772:
769:
765:
760:
757:
754:
751:, 5, c.f. in
750:
745:
742:
739:
736:, 4, c.f. in
735:
730:
727:
724:, 4, c.f. in
723:
718:
715:
712:
709:, 4, c.f. in
708:
703:
700:
697:, 5, c.f. in
696:
691:
688:
685:
682:, 4, c.f. in
681:
676:
673:
670:
666:
661:
658:
655:
652:, 4, c.f. in
651:
646:
643:
640:, 4, c.f. in
639:
634:
631:
628:, 5, c.f. in
627:
622:
619:
616:
613:, 4, c.f. in
612:
607:
604:
601:
598:, 4, c.f. in
597:
592:
589:
585:
581:
578:, 4, c.f. in
577:
572:
569:
566:
563:, 4, c.f. in
562:
557:
554:
551:
548:, 4, c.f. in
547:
542:
539:
536:
532:
527:
524:
521:
518:, 4, c.f. in
517:
512:
509:
505:
501:
496:
493:
490:
487:, 4, c.f. in
486:
481:
478:
475:, 4, c.f. in
474:
469:
466:
463:
460:, 5, c.f. in
459:
454:
451:
448:
444:
439:
436:
433:, 4, c.f. in
432:
425:
420:
419:
417:
415:
414:cantus firmus
411:
407:
406:
401:
397:
393:
389:
385:
381:
377:
368:
348:
346:
342:
338:
334:
329:
324:
322:
318:
314:
313:Welte Company
310:
301:
298:
295:
291:
288:
284:
281:
280:
276:
271:
253:
249:
246:
243:
242:cantus firmus
239:
235:
234:
230:
229:
228:
225:
222:
218:
213:
212:
207:
202:
200:
198:
193:
190:, Op. 122 of
189:
184:
180:
176:
172:
168:
167:OrgelbĂĽchlein
162:
159:
155:
145:
143:
139:
135:
131:
127:
110:
106:
94:
90:
87:
83:
79:
75:
73:
69:
65:
61:
57:
52:
46:
41:
38:
33:
28:
19:
2252:
2172:
2163:
2156:Zwölf Stücke
2155:
2147:Zwölf Stücke
2146:
2137:
2128:
2119:
2087:Sechs Lieder
2086:
2078:Sechs Lieder
2077:
2040:
2032:
2024:
2010:
1991:
1983:
1975:
1967:
1959:
1951:
1946:Responsories
1937:
1929:
1920:
1912:
1904:
1896:
1840:
1828:
1816:
1807:
1795:
1783:
1771:
1759:
1754:Braunschweig
1750:St. Aegidien
1743:
1731:
1719:
1707:
1700:
1699:
1687:
1626:
1596:
1586:
1566:. Retrieved
1547:. Retrieved
1531:. Retrieved
1511:. Retrieved
1491:. Retrieved
1471:. Retrieved
1451:. Retrieved
1434:. Retrieved
1417:. Retrieved
1411:
1370:
1350:
1330:
1318:
1306:
1294:
1287:Jordahl 1965
1265:
1192:
1175:
1171:
1163:
1159:
1155:
1147:
1143:
1135:
1131:
1120:
1116:
1105:
1101:
1090:
1086:
1078:
1074:
1070:
1059:
1055:
1044:
1040:
1029:
1025:
1017:
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1009:
998:
994:
983:
979:
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953:
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934:
930:
926:
918:
914:
906:
902:
887:
883:
875:
871:
860:
856:
848:
844:
836:
832:
821:
817:
809:
805:
794:
790:
779:
775:
767:
763:
752:
748:
737:
733:
725:
721:
710:
706:
698:
694:
683:
679:
668:
664:
653:
649:
641:
637:
629:
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614:
610:
599:
595:
587:
583:
579:
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564:
560:
549:
545:
534:
530:
519:
515:
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503:
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488:
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476:
472:
461:
457:
446:
442:
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430:
409:
403:
399:
395:
387:
383:
379:
373:
325:
308:
306:
299:
289:
282:
247:
231:
226:
217:Karl Straube
209:
206:Harvey Grace
203:
196:
182:
178:
175:Thomaskirche
171:Karl Straube
163:
151:
125:
124:
2177:(1915/1916)
2160:(1902/1904)
1934:(1909–1912)
1738:Lampertheim
1651:|work=
1635:Dr. J. Butz
1613:|work=
1549:27 February
1453:28 February
1436:15 February
1419:28 February
1398:|work=
1323:Rumsey 2011
1210:World War I
1206:RMS Titanic
345:organ stops
221:Fritz Stein
183:Vater unser
84:Protestant
59:Native name
2268:Categories
2242:Reger-Chor
2222:Jenő Zádor
2192:Elsa Reger
2004:Orchestral
1922:Die Nonnen
1684:Organ Roll
1360:0754630757
1311:Welte 2017
1270:Carus 2014
1228:References
1214:Aegean Sea
252:diminution
238:homophonic
148:Background
2175:, Op. 145
1969:Nachtlied
1932:, Op. 110
1883:Max Reger
1790:Groningen
1766:Apeldoorn
1653:ignored (
1643:cite book
1615:ignored (
1605:cite book
1400:ignored (
1390:cite book
311:) of the
199:, BWV 622
142:Max Reger
108:Published
37:Max Reger
2158:, Op. 80
2149:, Op. 65
2140:, Op. 52
2131:, Op. 40
2105:" (1912)
2098:" (1912)
2089:, Op. 35
1726:Schiedam
416:(c.f.).
321:Freiburg
277:, Berlin
92:Composed
86:chorales
81:Based on
2080:, Op. 4
2053:Chamber
1993:Requiem
1847:Utrecht
1835:Schagen
1778:Nieblum
1568:1 March
1533:1 March
1513:1 March
1493:1 March
1473:1 March
1198:Harrods
337:Walcker
113: (
97: (
53:in 1913
2151:(1902)
2142:(1900)
2133:(1899)
2124:(1898)
2091:(1899)
2082:(1890)
2062:(1892)
2045:(1914)
2037:(1913)
2029:(1912)
2021:(1910)
2015:(1904)
1996:(1915)
1988:(1915)
1980:(1914)
1972:(1914)
1964:(1914)
1948:(1911)
1942:(1911)
1925:(1909)
1917:(1909)
1909:(1903)
1901:(1892)
1890:Choral
1714:Diever
1545:. 2017
1378:
1357:
1162:&
1077:&
1016:&
952:&
933:&
586:&
506:&
339:, had
158:Weiden
130:Op. 67
2113:Organ
2070:Songs
1631:(PDF)
1563:(PDF)
1527:(PDF)
1507:(PDF)
1487:(PDF)
1467:(PDF)
1184:Notes
392:canon
333:Sauer
294:canon
215:like
138:organ
134:hymns
1655:help
1617:help
1570:2017
1551:2017
1535:2017
1515:2017
1495:2017
1475:2017
1455:2017
1438:2017
1421:2017
1402:help
1376:ISBN
1355:ISBN
408:and
405:SATB
335:and
181:and
136:for
115:1900
111:1900
99:1900
95:1900
72:Opus
140:by
119:–03
103:–02
35:by
2270::
1752:,
1647::
1645:}}
1641:{{
1609::
1607:}}
1603:{{
1394::
1392:}}
1388:{{
1277:^
1250:^
1235:^
1132:Hy
1129::
1114::
1099::
1068::
1053::
1041:Hy
1038::
1007::
992::
980:Hy
977::
965:Hy
962::
943::
900::
869::
830::
803::
788::
761::
746::
719::
692::
662::
623::
608::
582:,
573::
558::
543::
528::
497::
470::
455::
428::
400:Hy
323:.
128:,
76:67
2101:"
2094:"
1875:e
1868:t
1861:v
1657:)
1619:)
1572:.
1553:.
1537:.
1517:.
1497:.
1477:.
1457:.
1440:.
1423:.
1404:)
1384:.
1363:.
1325:.
1313:.
1301:.
1289:.
1272:.
1260:.
1245:.
1220:.
1176:P
1172:H
1164:P
1160:S
1156:C
1148:S
1144:H
1136:S
1121:S
1117:F
1106:S
1102:F
1091:S
1087:F
1079:P
1075:S
1071:H
1060:P
1056:F
1045:S
1030:P
1026:F
1018:P
1014:S
1010:F
999:S
995:F
984:S
969:S
954:P
950:S
946:H
935:P
931:S
927:F
919:T
915:F
907:S
903:F
888:S
884:H
876:S
872:F
861:P
857:F
849:S
845:F
837:S
833:H
822:T
818:F
810:S
806:F
795:T
791:F
780:S
776:O
768:P
764:F
753:P
749:F
738:S
734:F
726:T
722:F
711:S
707:H
699:S
695:H
684:S
680:F
677::
669:P
665:F
654:S
650:F
642:P
638:F
630:S
626:F
615:S
611:O
600:S
596:F
588:P
584:T
580:S
576:F
565:S
561:F
550:S
546:F
535:P
531:F
520:S
516:F
508:P
504:S
500:F
489:S
485:O
477:S
473:F
462:P
458:F
447:T
443:F
435:P
431:F
410:P
396:O
388:C
384:F
380:H
378:(
117:)
101:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
