the pianoforte, and the organ with Dr. Riemann. Late in 1890 or in 1891 he followed his teacher to Wiesbaden, where he became teacher of the pianoforte and the organ at the Conservatory there. In 1891 some of his compositions were published. He began to teach theory, but in 1896-97 he performed his military service. Soon afterwards he was sick nigh unto death. After his convalescence (1898) he went back to Weiden, and composed industriously. In 1901 he moved to Munich, and there took to himself a wife (1902), and joined the faculty of the Royal Academy of Music. In 1907 he was called to Leipsic as Music Director of the University and teacher of composition at the Conservatory. He resigned his position at the University toward the end of 1908. He received the title of Royal Saxon Professor in 1908, and the University of Jena gave him the degree of Dr. Phil. Hon. Causa. The University of Berlin gave him the title of Doctor of Medicine in 1910. After the death of Wilhelm Berger in January, 1911, Reger was appointed Generalmusikdirektor at Meiningen. The list of his works is a long one, and he is continually adding to it. It includes Sinfonietta for orchestra (1905); Serenade for orchestra (1906), Op. 95; Variations and Fugue on a Merry Theme by J. A. Hiller, Op. 100 (1907); Symphonic Prologue to a Tragedy, Op. 108 (1909); Concerto for pianoforte and orchestra, Op. 114 (1910); Trio Serenade, Op. 102; Six Preludes and Fugues for pianoforte, Op. 99; 100th Psalm; Violin Concerto, Op. 101; Violin Sonatas, Op. 1, 3, 41, 72, 84; Four Sonatas for violin alone, Op. 42; Seven Sonatas for violin alone, Op. 91; Prelude and Fugue for violin alone; Three Sonatas for clarinet and pianoforte, Op. 49, 107; Two Violin Romances, Op. 50; Trio with viola, pianoforte quartet, Op. 113; Three String Quartets, Op. 64; String Quartet, Op. 109; String Quintet, Op. 64; Violoncello Sonatas, Op. 5, 28, 78, 116; Songs, Op. 4, 8, 12, 15, 23, 31, 35, 37, 43, 48, 51, 55, 66, 68, 70, 97; and other songs; Four-voiced Songs with pianoforte, Op. 6; Duets, Op. 14; Sacred Songs with organ, Op. 19; BACK BAY BRANCH STATE STREET TRUST CO. Corner MASSACHUSETTS AVENUE and BOYLSTON STREET Is conveniently situated for residents of the Back Bay, Long- There are Safe Deposit Vaults and Storage Vaults at the MAIN OFFICE, 38 STATE STREET OPENING OF LADIES' GLOVES, WAISTS, NECKWEAR, VEILS, AND SCARFS Special care has been given to choosing Veils that LIST of CASTS in SYMPHONY HALL As you face the stage, the casts on the right, beginning with the one nearest the stage, are as follows: Sitting Anacreon (Copenhagen); Faun with Infant Bacchus (Naples), ordered; Girl of Herculaneum (Dresden); Dancing Faun (Rome); Demosthenes (Rome); Apollo Citharoedus (Rome); Euripides (Rome); Diana of Versailles (Paris). The casts on the left are the Faun of Praxiteles (Rome); Amazon (Berlin); Hermes Logios (Paris); Lemnian Athena (Dresden, head in Bologna); Sophocles (Rome); Standing Anacreon (Copenhagen), ordered; Aeschines (Naples); Apollo Belvedere (Rome). The reliefs in the passage are: Bacchic Procession (Naples); Orpheus, Eurydice, and Hermes (Naples). Hymn, "An den Gesang," Op. 21, for male chorus and orchestra; "Gesang der Verklärten," Op. 71, for chorus of five voices and orchestra; Folk-songs for male chorus and also for mixed chorus; "Palmsonntagmorgen" (five voices a cappella); choral cantata, "Meinen Jesum lass' ich nicht"; 100th Psalm for chorus, orchestra, and organ; "Die Nonnen," for mixed chorus; "Suite im alten Stil,' for violin and piano, Op. 93; many organ pieces of all sorts, Op. 7, 16, 27, 29, 30, 33, 40, 46, 47, 52, 57, 60, 63, 67, 69, 73, 92. He has arranged for the organ preludes and fugues written by Bach for the clavichord; organ works of Bach for the pianoforte (two and four hands); and Bach's two-voiced Inventions as trios for organ. He has also written much music for the pianoforte, both for two and four hands: Op. 9, 10, 11, 13, 17, 18, 20, 22, 24, 25, 26, 32, 36, 44, 45, 53, 59, 62, 65, 82, 94, 96, 99, 115. He has transcribed for the pianoforte songs of Hugo Wolf, Jensen, and Brahms; orchestral pieces by Bach, Wolf, d'Albert. This list is by no means complete. In 1903 he published "Beiträge zur Modulationslehre." Dr. Riemann said that Reger has won his reputation by expressing his own individuality in a language that comes from deep study of Bach, Beethoven, and Brahms. There is a biographic sketch of Reger's life with a review of his works by Richard Braungart. A Max Reger Festival was held at Dortmund, May 7, 8, 9, 1910, and similar festivals have since been held in various cities of Germany. Reger's Serenade was played in Boston at a concert of the Boston Symphony Orchestra, April 13, 1907; his Variations and Fugue on a Merry Theme at concerts of the Boston Symphony Orchestra, February 15, 1908, and January 28, 1911; his Symphonic Prologue to a Tragedy, October 16, 1909. Other performances of works by him in Boston: Serenade, Op. 77 A, for flute, violin, and viola, February 5, 1906 (Messrs. A. Maquarre, Hess, and Férir); Sonata in F-sharp minor for violin and pianoforte, Op. 34, by Messrs. Marteau and Göllner, April 10, 1906; Sonata for violin and pianoforte, C major, Op. 72, November 16, 1908 (Messrs. Hoffmann and Anthony); Two Chorals of Bach arranged for pianoforte and Variations on a Theme by Bach, December 10, 1908 (Mr. Charles Anthony); four movements from Suite, Op. 103 A, for violin and pianoforte, March 26, 1909 (Messrs. Hess and Gebhard); Sonata in A-flat major, Op. 49, No. 1, for clarinet and pianoforte, December 23, 1909 (Messrs. Grisez and DeVoto at a Longy Club concert); Quartet in E-flat major, Op. 109, January 6, 1910 (HessSchroeder Quartet), December 6, 1910 (Kneisel Quartet); two movements, February 21, 1911 (Kneisel Quartet); Scherzo from Quartet in D minor, Op. 74, February 3, 1910 (Flonzaley Quartet). Mr. Ernest Sharpe gave a Reger song recital, November 15, 1905, and some of Reger's songs have been sung here in recitals. |