Schumann, Reger i B-A-C-H


Abstrakt:

Robert Schumann and Max Reger were German composers whose works, though all belonging to the Romantic epoch, are worlds apart in stylistic terms. Nevertheless, several meeting points of the ways of their artistic development can be distinguished.
Both Schumann and Reger died relatively young, each of them battled against problems of a psychological nature: Reger against alcoholism, Schumann against the constant recurrence of mental illness.
The composers also shared predilection for theoretical deliberations on music. Schumann’s texts about what should generally be called ‘romantic thinking about music’ were published in Neue Zeitschrift für Music. Drawing on his long-standing pedagogic experience Max Reger wrote a textbook on modulation – Beiträge zur Modulationslehre.
Schumann’s organ compositions comprise first and foremost 6 Fugues on the Theme B-A-C-H, op.60. Reger’s legacy is richer in this respect; as an organ virtuoso he left behind a substantial number of works written for that instrument which still form part of a standard repertoire of organists.
In the Romantic period the worship of Johann Sebastian Bach revived and brought about a crop of musical pieces inspired by his work and creative posture.
The comparison of two organ compositions: Max Reger’s Fantasy and Fugue on the Theme B-A-C-H, op. 46 and Robert Schumann’s 6 Fugues on the Theme B-A-C-H, op.60 gives evidence that despite the difference in aesthetical qualities of works by two composers, the influence of Johann Sebastian Bach’s music is a predominant feature here and proves the existence of true and universal values in music.

Tłumaczenie: Barbara Bogunia