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Variationen und Fuge über ein Thema von Johann Adam Hiller

Münchner Stadtbibliothek, Musikbibliothek

Details

Title

  • Variationen und Fuge über ein Thema von Johann Adam Hiller

Additional Title

  • Variationen und Fuge über ein Thema von Johann Adam Hiller. orch. RWV 100. E
  • [caption title:] Fritz Steinbach zugeeignet | Variationen und Fuge | für | großes Orchester | über ein Thema von J. Adam Hiller (1770) Max Reger Op 100. [at the tail at right:] Aufführungsrecht vorbehalten<br>[at the end:] Fine. | Beendigt am 19. Mai 1907 | zu Leipzig | Fine. | Max Reger | Fine. | Fine

Creation

Creator
  • Max Reger (1873-1916)
  • Johann Adam Hiller (1728-1804); Komponist
Contribution
  • Fritz Steinbach (1855-1916); Widmungsträger
Time
  • 1907

Collection

  • Musikalische Schätze der Münchner Stadtbibliothek – Musikbibliothek

Rights Statement Digital Object

Rights Statement Metadata

Extent / Measurements

  • score: 120p., 46,7 x 35,7 cm

Note

  • Die Abschrift stammt von August Schmidt-Lindner und enthält nur die 8. Variation

Object Category

  • Musikalie

Call Number / Inventory Number / Id Number

  • Call number: M 16
  • Access number : 3172/38
  • Identifier: 455040650

Holding Institution

  • Münchner Stadtbibliothek, Musikbibliothek

Data Provider

  • Münchner Stadtbibliothek

Description

The Variations and Fugue for Orchestra op. 100 on a theme by Johann Adam Hiller (1728-1804) from the musical comedy "Der Aerndtekranz" (The Harvest Wreath) undoubtedly belong to Max Reger's (1873-1916) major works. Strongly influenced in style by Johannes Brahms (1833-1897), he showed his admiration for the art of the counterpoint of Johann Sebastian Bach (1685-1750) in the final fugue. The autograph belongs to a collection of six musical manuscripts, which were offered to the Musikbibliothek by Max Reger's widow, Elsa Reger (1870-1951), in 1938. After some hesitation, the city council agreed to the purchase and acquired the autograph for 8,000 Reichsmark at that time. Noteworthy are the massive deletions on pages 39 and 94, which are an example of how Reger repeatedly discarded or switched variations.