A “Last Giant in Music”: Thoughts on Max Reger in the Twentieth Century
Identifieur interne : 000152 ( Main/Exploration ); précédent : 000151; suivant : 000153A “Last Giant in Music”: Thoughts on Max Reger in the Twentieth Century
Auteurs : Reinhold Brinkmann [États-Unis]Source :
- The Musical Quarterly [ 0027-4631 ] ; 2004.
English descriptors
- Teeft :
- Absolute music, Apocalyptic visions, Arnold schoenberg, Bach variations, Beckmann, Bourgeois morale, Briefe, Briefe eines deutschen meisters, Central importance, Coloristic effects, Compositional, Compositional craftsmanship, Compositional procedures, Compositional technique, Concert hall, Core issues, Critical reception, Disconcerting chaos, Dynamic possibilities, Ernst kurth, Ferdinand verlag, Feste burg, Fritz stein, German culture, German movement, German music, Grand style, Gustav mahler, Harmonic, Harmonic language, Hermann wilske, Hiller variations, Hindemith, Historical position, Historical significance, Irae, Irae fragment, Karl matthei, Karl straube, Large organ works, Large works, Last giant, Latin requiem, Music history, Musical language, Musical prose, Musik, Musikalischen prosa, Neue, Neue musik, Nineteenth century, Organ music, Organ works, Other words, Paul hindemith, Personal meeting, Problematic existence, Program music, Publisher simrock, Reger, Reger example, Reger reception, Requiem, Requiem fragment, Rezeption, Richard strauss, Romantic organ, Rudolf serkin, Rudolf stephan, Schoenberg, Seiner, Seiner zeit, Small step, Sound surfaces, Straube, Strong interest, Stuttgart staatsgalerie, Subsequent composers, Susanne, Susanne popp, Susanne shigihara, Tragic figure, True progress, Tuba mirum, Twentieth century, View reger, Violin concerto, Wilibald gurlitt, Wilske, Wolfgang rihm, Zeit.
Url:
DOI: 10.1093/musqtl/gdh023
Affiliations:
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