Max Reger - Variations and Fugue on a theme by Telemann

Variations and Fugue on a theme by Telemann for Piano, Op. 134

I really enjoy the theme that Reger chooses to base these variations on. I always enjoying hearing music that is entirely reliant on a wonderful progression which is well voiced.

Variations 1-8

These shorter variations are really fun to listen to, especially in the way that Reger slowly evolves away from the original theme harmonically. In the beginning it seems as though this will end up being variations in the baroque sense, meaning that only the right hand will be varied, but Reger begins to wander in the 3rd variation, using decorative non-chord tones. Reger’s use of chords, especially in the 6th variation, is the closest I have yet seen to the virtuosic tendencies of Rachmaninoff. Variation 7 contains delicate polyphony, whereas variation 8 begins the study of syncopation.

Variations 9-16

At variation 9 we begin an unseen form, being that Reger creates noticeably contrasting sections within the variation. Variation 10 brings the farthest removal from the chord progression we have yet seen. For the first time the theme is made minor, and a seemingly distant melody is created over the top of it. Variation 13 displays wonderful tricks of the piano, displaying to me that Reger fancied the twinkling sounds of the instrument. In variation 14 we return to an extremely recognizable display of the original theme, this time presented in greater majesty. Variation 16, equipped with a tempo change, seems to contain all the characteristics of a depressed minuet.

Variations 17-Fugue

Variation 17 contains the same longing character as the preceding variation, however the beginning is most certainly a major statement of the theme. Variation 18 makes me remember a time in piano lit when our accompaniment choices were limited to polyphony and alberti bass, this is obviously far removed from those times. His use of broken octaves in variation 21 reminds me of Brahms’ techniques in both his exercises and his variations on Paganini. This may be one of the most intense fugues I have ever heard. The techniques used remind me of Schubert and Liszt, in the ways that Reger uses octaves and chords to bring virtuosic flare to the content. Had I the time I would love to thoroughly analyze this fugue to see exactly how Reger mixes the traditional elements with his virtuosic abilities.