Performances
Sheet Music
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Publisher. Info.
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Leipzig: C.F. Peters, 1909. Plate 10161.
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Publisher. Info.
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Leipzig: C.F. Peters, 1909.
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Reprinted
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Max Reger: Sämtliche Werke, Band 3: Orchesterwerke III Wiesbaden: Breitkopf und Härtel, 1959. Plate M.R. 3.URTEXT EDITION This "urtext" or "scholarly" (scientific) edition was published at least 25 years ago in the EU (or 20 years ago in Italy, before 1992 in the former USSR). Hence, the edition is public domain in its country of origin or a government publication. Such editions are also public domain in Canada because they fail to meet the minimum 'threshold of originality' to qualify for copyright as an 'adaptation'. They may not be public domain elsewhere. More information about this can be found here. Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
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Arrangements and Transcriptions
For Piano 4 hands (Composer)
Publisher. Info.
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Leipzig: C.F. Peters, No.3217, 1909. Plate 9428.
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Misc. Notes
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Suitable for 2-sided printing + binding
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Arranger
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[Composer's transcription]
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Publisher. Info.
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Leipzig: C.F. Peters, No.3217, 1909. Plate 9428.
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Copyright
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This file is part of the Sibley Mirroring Project.
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General Information
Work Title
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Symphonischer Prolog zu einer Tragödie
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Alternative. Title
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Composer
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Reger, Max
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Opus/Catalogue NumberOp./Cat. No.
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Op.108
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I-Catalogue NumberI-Cat. No.
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IMR 226
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Key
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A minor
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Movements/SectionsMov'ts/Sec's
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1
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First Publication.
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1909
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Dedication
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Arthur Nikisch zugeeignet
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Average DurationAvg. Duration
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30-35 Minutes
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Composer Time PeriodComp. Period
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Romantic
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Piece Style
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Romantic
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Instrumentation
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orchestra
- 3 flutes (3rd also piccolo), 2 oboes, English horn, 2 clarinets (B♭)
- bass clarinet (B♭), 2 bassoons, contrabassoon
- 6 horns (F), 3 trumpets (C), 3 trombones, tuba
3 timpani, bass drum, cymbals, strings
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External Links
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MPH preface
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At least one of the themelets is a (direct? exact?) quote from Psalm 100, Op.106 (admittedly, thematic borrowings/hints/etc. by Reger between works are not unusual; consider the 8th violin sonata and the 5th string quartet, 2nd movements. The development of one starts with the beginning of the main theme of the other.) - Schissel