Symphonischer Prolog zu einer Tragödie, Op.108 (Reger, Max)
|
|
|---|
Sheet Music
Full Scores
Complete Score
*#46311 - 19.24MB, 128 pp. - (0) - V/V/V - 335x⇩
PDF scanned by Unknown
Hobbypianist (2009/11/17)
Leipzig: C.F. Peters, 1909. Plate 10161
Javascript is required for this feature.
Complete Score
*#47275 - 15.21MB, 89 pp. - (2) - V/V/V - 208x⇩
PDF scanned by Unknown
Hobbypianist (2009/11/28)
Leipzig: C.F. Peters, 1909.
Max Reger: Sämtliche Werke, Band 3: Orchesterwerke III.
Wiesbaden: Breitkopf & Härtel, 1959. Plate M.R. 3.
Javascript is required for this feature.
Arrangements and Transcriptions
For Piano 4 hands (Composer)
Complete Score
*#44587 - 33.94MB, 35 pp. - (0) - V/V/V - 81x⇩
Leipzig: C.F. Peters, No.3217, 1909. Plate 9428.
Suitable for 2-sided printing + binding
Javascript is required for this feature.
Complete Score
*#140691 - 3.23MB, 40 pp. - (0) - V/V/V - 65x⇩
PDF scanned by Sibley Library
Morel (2011/10/22)
Color cover
*#140692 - 0.98MB, 1 pp. - (0) - V/V/V - 22x⇩
PDF scanned by Sibley Library
Morel (2011/10/22)
[Composer's transcription]
Leipzig: C.F. Peters, No.3217, 1909. Plate 9428.
This file is part of the Sibley Mirroring Project.
Javascript is required for this feature.
General Information
| Work Title | Symphonischer Prolog zu einer Tragödie, Op.108 |
|---|---|
| Alternative Title |
| Composer | Reger, Max |
|---|---|
| Opus/Catalogue Number | Op.108 |
| Key | A minor |
| Movements/Sections | 1 |
| First Publication | 1909 |
| Dedication | Arthur Nikisch zugeeignet |
| Average Duration | 30-35 Minutes |
| Piece Style | Romantic |
| Instrumentation | Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets in B♭, Bassclarinet in B♭, 2 Bassoons, Contrabassoon, 6 Horns in F, 3 Trumpets in C, 3 Trombones, Bass-tuba, 3 Timpani, Bass drum, Cymbals, Strings |
Misc. Comments
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

