Flieder op. 35 No. 4

Version for mittlere Singstimme und Orchester

Content
Creation
Instrumentiert in Jena, Mai 1915
Status
Dedication

Performance medium
Middle voice solo; Orchestra [Flute, Oboe, Clarinet 1, Clarinet 2, Bassoon, French horn, Timpani 1, Timpani 2, Strings]

Work collection
  • -
Original work
  • Six Songs op. 35 for middle voice and piano
Versions
  • -

1.

Reger-Werkausgabe Bd. II/6: Lieder mit Orchesterbegleitung, S. 154–162.
Herausgeber Christopher Grafschmidt, Claudia Seidl.
Unter Mitarbeit von Knud Breyer und Stefan König.
Verlag Carus-Verlag, Stuttgart; Verlagsnummer: CV 52.813.
Erscheinungsdatum September 2023.
Notensatz Carus-Verlag, Stuttgart.
Copyright 2023 by Carus-Verlag, Stuttgart and Max-Reger-Institut, Karlsruhe – CV 52.813.
Vervielfältigungen jeglicher Art sind gesetzlich verboten. / Any unauthorized reproduction is prohibited by law.
Alle Rechte vorbehalten. / All rights reserved.
ISMN 979-0-007-30199-6.
ISBN 978-3-89948-446-5.


Category
Text template
First edition

Template edition

Copy shown in RWA: DE, Karlsruhe, Max-Reger-Institut/Elsa-Reger-Stiftung.

Note: Die zweite Auflage befand sich im Besitz Regers, der Otto Julius Bierbaum am 14. August 1900 mitteilte, den Band “in Bekanntenkreisen fleißigst „circuliren“ gelassen und daraus eine Anzahl ganz wundervoller Gedichte in Musik gesetzt” zu haben. (Brief)

Note: Seitenzahl und Text mit Erstausgabe identisch.


Annotations

Note: Die abgebildete, seitengleiche zweite Auflage ist vermutlich Regers Vorlage.


1. Composition and Publication

At the same time that he was working on his Mariä Wiegenlied, Reger also wrote to Universal-Edition in Vienna, which was the legal successor of the Aibl publishing house, offering “to orchestrate some of my songs that have been published by your company”. He also asked “for your suggestions”. (Letter of 29 April 1915) By the time that Universal signalled its agreement just two weeks later, Reger had already orchestrated 5 of these songs”. In this case, too, he placed importance on a straightforward orchestral setting, emphasising that “they can even be performed without a voice. It is extraordinarily important to me that these 5 songs should appear in print as soon as possible in my orchestration. I therefore request most urgently that when I send you the manuscripts of these 5 songs (orchestrated) in the near future, you should immediately have them engraved, so that they might appear as soon as possible.” Reger justified his selection by explaining that he had “already, countless times, experienced for myself the impact of these 5 songs on the broad mass of the public”. In the event that Universal should have other ideas, he added that they could “publish a few more songs, orchestrated by me, at a later date”. (Letter of 10 Mai 1915)

Universal-Edition accepted his selection of songs, and Reger sent them the engraver’s copies on 19 May 1915. He also took this opportunity to repeat his proposal to “orchestrate 2 more songs in addition (of your choice!)”, and again emphasised that he was extraordinarily concerned that these arrangements should be published as soon as possible. (Letter of 19 Mai 1915)1 Universal then made certain demands – perhaps in connection with the performance rights or the copyright – that Reger was unwilling to fulfil: “I regret very much that I can not waive my rights, and request that you return to me the manuscript scores of the 5 songs I have orchestrated immediately [underlined four times] by registered mail! Needless to say, I hereby renounce for all time any possible business relationship with Universal-Edition.” (Registered letter of 2 June 1915) The publisher now clearly retracted its demands: “These rights that you have granted me here are rights that every German publisher would immediately grant me without further ado! I am delighted that that you are receptive to my orchestrations. I hope to get the proofs soon.” (Postcard of 8 June 1915) However, the proofs did not reach him until February 1916, “regrettably half a year too late! I am always on concert tours this winter, so with the best will in the world, I shall only be able to check through these proofs in the spring!” (Postcard of 12 February 1916)

On 5 May, Reger returned the corrected proofs together with the manuscripts. No information is extant about the actual date of publication of the first editions. The copyright notice gives the year 1916, and the collective title page bears the remark: “The composer completed the orchestration of these songs in 1916 and declared the proofs ready for publication a few days before he passed away”.

2.

Translation by Chris Walton.


1
Reger did not orchestrate any further songs.

1. Reception

At present, there are no records of performances in Reger's time.

1. Stemma

Die in Klammern gesetzte Quelle ist verschollen.
Die in Klammern gesetzte Quelle ist verschollen.

2. Quellenbewertung

Der Edition liegt als Leitquelle der Erstdruck zugrunde. Als Referenzquelle wurde dessen Stichvorlage herangezogen, in einigen Fällen auch der Erstdruck des Klavierlieds sowie dessen Stichvorlage, die Reger zum Zeitpunkt der Bearbeitung jedoch nicht vorlag.

3. Sources

Klavierlied
  • Stichvorlage (KL-SV)
  • Erstdruck (KL-ED)
Orchesterlied
  • Stichvorlage (OL-SV)
  • Erstdruck (OL-SV)
Object reference

Max Reger: Flieder op. 35 No. 4, in: Reger-Werkausgabe, www.reger-werkausgabe.de/mri_work_01330.html, last check: 13th April 2024.

Information

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