Romantic
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Romantic
20th century
21st century
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Reger Max
Akimenko, Theodore
Albeniz, Isaac
Andersen, Joachim
Barnett, John Francis
Bazzini, Antonio
Beach, Amy
Bellini, Vincenzo
Bizet, George
Blahetka, Leopoldine
Blodek, Wilhelm
Boehm, Theobald
Bonis, Mel
Borne, François
Brahms, Johannes
Briccialdi, Giulio
Bruch, Max
Caplet, André
Chaminade, Cécile
Chopin, Frédéric
Danzi, Franz Ignaz
Debussy, Claude
Demersseman, Jules-Auguste Edouard
Donizetti, Gaetano
Donjon, Johannes
Doppler, Albert Franz
Du Puy, Édouard
Dvořák, Antonin
Elgar, Edward
Fauré, Gabriel
Foote, Arthur
Franck, César
Frühling, Carl
Fürstenau, Anton Bernhard
Gade, Niels Wilhelm
Ganne, Louis
Génin, Paul Agricole
German, Edward
Glière, Reinhold
Godard, Benjamin
Gounod, Charles
Grandval, Clémence
Hahn, Reynaldo
Hüe, Georges Adolphe
Hummel, Johann Nepomuk
Jadassohn, Solomon
Kohler, Ernesto
Kreisler, Fritz
Kuhlau, Friedrich
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Liszt, Franz
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Massenet, Jules
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Meyer-Olbersleben, Max
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Paganini, Niccolo
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Pierné, Gabriel
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Reger, Max
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Rossini, Gioacchino
Saint-Saëns, Camille
Sarasate, Pablo de
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Schumann, Clara
Schumann, Robert
Sibelius, Jean
Silcher, Friedrich
Strauss, Richard
Taffanel, Claude Paul
Tulou, Jean-Louis
Vitali, Tomaso Antonio
Wagner, Siegfried
Widor, Charles Marie Jean Albert
Suite in A Minor, Op. 103a
Suite in A Minor, Op. 103a
Max Reger: Suite in A Minor, Op. 103a was written in August 1908 in Berchtesgaden, Germany.
The work was originally composed for violin and piano and is part of a collection of "Hausmusik" (domestic music).
It is a suite comprising six movements in a style reminiscent of the Baroque suite form, including a Praeludium, Gavotte, Aria, Burleske, Menuet, and Gigue. The third movement, the Aria, was also arranged for cello and piano or organ by the composer, and the last three movements were arranged for flute and piano.
The original violin and piano suite was dedicated to the violinist Edgar Wollgandt. The Aria (No. 3) was specifically dedicated to the cellist Julius Klengel.
The suite was first performed on November 7, 1908, in Prague, by the renowned violinist Henri Marteau and the composer Max Reger himself at the piano.
Reger was living in Leipzig in 1908, having accepted a teaching position as professor of composition at the Royal Conservatory and a role as Universitätsmusikdirektor in 1907. He was in a highly productive phase but also struggling with the critical reception of his larger orchestral works, such as the Sinfonietta, Op. 90. The Suite, Op. 103a, alongside other works like the Violin Concerto, Op. 101 represented his ongoing exploration of traditional genres while using his complex, chromatic harmonic language, an attempt to find clarity and structure in his music.
Reger Max
Max Reger (1873–1916) was a German composer, pianist, organist, conductor, and teacher of the late Romantic era. He was a highly prolific and controversial figure known for his complex harmonic language, masterful use of counterpoint, and reverence for the music of J.S. Bach and Brahms.
Born in Brand, Bavaria, Reger showed musical promise early on. He received his first musical education from his father and later studied piano and theory formally in Sondershausen and Wiesbaden. His musical heroes were Bach, Beethoven, and Brahms, and their influence remained central to his musical DNA.
He was an exceptional organist and pianist, known for his improvisational skills and demanding performance schedule.
He held prestigious teaching positions, notably as a professor of composition at the Leipzig Conservatory, where he also served as director for a time.
He produced an immense body of work across nearly every genre except opera, including orchestral music, chamber music, organ works (which are central to his legacy), and Lieder.
His style is characterized by dense counterpoint. He frequently used complex fugues and variations, reflecting his deep study of Bach. His harmonic language was highly chromatic and expansive, pushing the boundaries of traditional tonality, a feature that divided critics during his lifetime.
Even though his music fell out of favor during the modernist movements of the 20th century, Reger's legacy has been re-evaluated in recent decades.