Table Of ContentMaxx Reger
PIECES FOR THEE YOUTTH
FORR PIANO
Compilaation, editting and fforeword by N. A.Kopchevvsky
Sheeet music
Thhird editiion, stereotyped
Маккс Регерр
ППЬЕСЫЫ ДЛЯЯ ЮНООШЕСТТВА
ДЛЛЯ ФОРРТЕПИИАНО
ССоставленние, редаакция и ппредисловие Н. АА. Копчевского
ННоты
Издаание треттье, стерееотипноее
ББК 786.2 6+
ББК 85.954.2
Р 32 Reger M. Pieces for the Youth. For Piano : sheet music / M. Reger ;
N. Kopchevsky (compilation, editing, foreword). — 3rd edition, stereotyped. —
Saint Petersburg : Lan : The Planet of Music, 2021. — 76 pages. — Text : di-
rect.
Max Reger (1873—1916) was a German composer, organist, pianist and teach-
er, who lived and worked during the difficult period at the turn of the centuries.
His style was mainly influenced by the late romantic school (in particular, by R.
Wagner) and the music by J.S. Bach. The style of his piano music is marked by es-
pecially convenient pianism.
This collection is addressed to performers of various professional level, start-
ing from middle and senior grades of children's music schools.
Р 32 Регер М. Пьесы для юношества. Для фортепиано : ноты / М. Регер ;
Н. Копчевский (составление, редакция, предисловие). – 3-е изд., стер. –
Санкт-Петербург : Лань : Планета музыки, 2021. — 76 с. — Текст : непо-
средственный.
ISBN 978-5-8114-7600-8 (Издательство «Лань»)
ISBN 978-5-4495-1347-2 (Издательство «ПЛАНЕТА МУЗЫКИ»)
ISMN 979-0-66005-411-6 (Издательство «ПЛАНЕТА МУЗЫКИ»)
Макс Регер (1873—1916) – немецкий композитор, органист, пианист и пе-
дагог, чья творческая жизнь протекала в сложный период рубежа веков. Его
стиль в основном был сформирован под воздействием позднеромантической шко-
лы (в частности, Р. Вагнера) и музыки И. С. Баха. Стиль его фортепианной му-
зыки отличает особая удобность, пианистичность.
Настоящий сборник адресован исполнителям различной профессиональной
подготовки, начиная со средних и старших классов ДМШ.
ББК 85.954.2
Обложка
А. Ю. ЛАПШИН
© Издательство «ПЛАНЕТА МУЗЫКИ», 2021
© Н.А.Копчевский, наследники (cоставление, ре-
дакция, предисловие), 2021
© Н.А.Александрова, перевод, 2021
© Издательство «ПЛАНЕТА МУЗЫКИ»,
художественное оформление, 2021
FFFFOOOORRRREEEEWWWWOOOORRRRDDDD ÏÏÏÏÐÐÐÐÅÅÅÅÄÄÄÄÈÈÈÈÑÑÑÑËËËËÎÎÎÎÂÂÂÂÈÈÈÈÅÅÅÅ
Max Reger (full name Johann Ìàêñ Ðåãåð (ïîëíîå èìÿ
Èîãàíí Áàïòèñò Ìàêñèìèëèàí Ðåãåð)
Baptist Maximilian Reger) is one of
— îäèí èç êðóïíåéøèõ íåìåöêèõ
the greatest German composers of the
êîìïîçèòîðîâ êîíöà XIX — íà÷àëà
late XIX ! early XX century. He was
XX âåêà. Îí ðîäèëñÿ 19 ìàðòà 1873
born on March 19, 1873 in a Bavarian ãîäà â áàâàðñêîé äåðåâíå â ñåìüå
village in the family of a schoolteach- øêîëüíîãî ó÷èòåëÿ.  1874 ãîäó ñå-
ìüÿ ïåðåñåëèëàñü â íåáîëüøîé ãîðîä
er. In 1874, the family moved to the
Âåéäåí. Ïåðâîíà÷àëüíîå ìóçûêàëü-
small town of Weiden. The boy got his
íîå îáðàçîâàíèå ìàëü÷èê ïîëó÷èë ó
initial musical education by his moth-
ìàòåðè è ó îòöà, çàòåì åãî îòäàëè
er and father, and then he became the
ìåñòíîìó îðãàíèñòó Àäàëüáåðòó
pupil of the local organist Adalbert
Ëèíäíåðó, êîòîðûé îáó÷àë åãî èãðå
Lindner, who taught him to play the íà îðãàíå è ôîðòåïèàíî. Ê þíîøå-
organ and the piano. To the years of ñêèì ãîäàì îòíîñÿòñÿ åãî ïåðâûå ñî-
his youth belong his first works ! ÷èíåíèÿ — ðîìàíñû, íåáîëüøèå
romances, small piano pieces. In 1890, ôîðòåïèàííûå ïüåñû. Â 1890 ãîäó
Ðåãåð åäåò ó÷èòüñÿ ê ïðîñëàâëåííîìó
Reger went to study with the famous
òåîðåòèêó Ãóãî Ðèìàíó â Çîí-
theorist Hugo Riemann in Sonder-
äåðcõàóçåí, à íà ñëåäóþùèé ãîä ïå-
shausen, and the next year, he fol-
ðååçæàåò ñëåäîì çà ñâîèì ó÷èòåëåì â
lowed his teacher to Wiesbaden. While
Âèñáàäåí. Îäíîâðåìåííî ñ ó÷åáîé â
studying at the conservatory, he
êîíñåðâàòîðèè îí âûïîëíÿåò òàì æå
worked there as an assistant teacher îáÿçàííîñòè ïîìîùíèêà ó÷èòåëÿ ïî
in theory and piano classes. At the êëàññàì òåîðèè è ôîðòåïèàíî. Â ýòî
same time, he started to perform at æå âðåìÿ íà÷èíàþòñÿ è åãî êîíöåðò-
íûå âûñòóïëåíèÿ â êà÷åñòâå ïèàíè-
concerts as a pianist and organist.
ñòà è îðãàíèñòà. Â äàëüíåéøåì òâîð-
Later on, Reger's activities took place
÷åñêàÿ äåÿòåëüíîñòü Ðåãåðà ïðîòåêà-
in Munich (1901!1907), in Leipzig
åò â Ìþíõåíå (1901—1907), â Ëåéï-
(1907!1911), where he taught at the
öèãå (1907—1911), ãäå îí ïðåïîäàåò
Conservatory and performed duties of
â êîíñåðâàòîðèè è âûïîëíÿåò îáÿ-
a “university music director”, in
çàííîñòè «óíèâåðñèòåòñêîãî ìó-
Meiningen (1911!1914), where he çèêäèðåêòîðà», â Ìåéíèíãåíå
conducted the orchestra (while still (1911—1914), ãäå îí ðóêîâîäèò îð-
teaching at the Leipzig Conservatory). êåñòðîì (íå îñòàâëÿÿ ïðåïîäàâàíèå â
Ëåéïöèãñêîé êîíñåðâàòîðèè). Â 1914
In 1914, after a nervous disease, Re-
ãîäó ïîñëå íåðâíîãî çàáîëåâàíèÿ Ðå-
ger stopped his performing activities
ãåð îòõîäèò îò àêòèâíîé èñïîëíè-
and, having reduced teaching to a
òåëüñêîé äåÿòåëüíîñòè è, ñîêðàòèâ
minimum, devoted all his time to crea-
äî ìèíèìóìà ïðåïîäàâàíèå, âñå ñâîå
tive work. In 1915 he settled in Jena.
âðåìÿ ïîñâÿùàåò òâîð÷åñòâó.  1915
Reger died on May 10, 1916 in Leip- ãîäó îí ïîñåëèëñÿ â Éåíå. Óìåð Ðå-
zig. ãåð 10 ìàÿ 1916 ãîäà â Ëåéïöèãå.
3
Reger's legacy is amazingly large ! Òâîð÷åñêîå íàñëåäèå Ðåãåðà
he’s an author of 146 opuses, most of ïîðàæàåò ñâîèìè ìàñøòàáàìè — åãî
ïåðó ïðèíàäëåæàò 146 îïóñîâ, èç êî-
which are big compositions or cycles
òîðûõ áîëüøàÿ ÷àñòü — êðóïíûå ñî-
of pieces. Apart from opera, there
÷èíåíèÿ èëè öèêëû ïüåñ. Êðîìå
seems to be no such a genre that he
îïåðû, ïî-âèäèìîìó, íåò òàêîãî
had not touched. Such an amount of
æàíðà, êîòîðîãî íå êîñíóëîñü áû åãî
work seems incomprehensible even if
ïåðî. Òàêîé îáúåì êàæåòñÿ íåïîñòè-
one constantly remembers about the
æèìûì, åñëè äàæå è ïîìíèòü ïîñòî-
working capacity and discipline of this ÿííî î ðàáîòîñïîñîáíîñòè è äèñöè-
composer (after all, Reger’s entire ïëèíå ýòîãî êîìïîçèòîðà (âåäü âåñü
creative biography took only a little òâîð÷åñêèé ïóòü Ðåãåðà çàíèìàåò íå-
ìíîãèì áîëåå 25 ëåò!). Ïîðàçèòåëüíà
more than 25 years!). Literally Mo-
è ïðèñóùàÿ Ðåãåðó áóêâàëüíî ìîöàð-
zart's ease of writing inherent to Re-
òîâñêàÿ ëåãêîñòü ïèñüìà. Èçâåñòíî,
ger is striking as well. It is known,
íàïðèìåð, ÷òî ïàðòèòóðó îãðîìíîé
for example, that the score of the
çàêëþ÷èòåëüíîé ôóãè â «Âàðèàöèÿõ
huge final fugue in “Variations on a
íà òåìó Ãèëëåðà»—56 ñòðàíèö—îí
Theme by Hiller” — 56 pages — he íàïèñàë áåç åäèíîé ïîìàðêè â òå÷å-
wrote without a single blot during one íèå îäíîãî âîñêðåñíîãî äíÿ, ïåðâàÿ
Sunday, the first movement of the d- ÷àñòü êâàðòåòà d-moll áûëà íàïèñàíà
moll quartet was written overnight. çà îäíó íî÷ü.
 ìóçûêå Ðåãåðà, íåñìîòðÿ íà
In Reger's music, despite the
óñëîæíåííîñòü è ïåðåãðóæåííîñòü
complexity and overloading of a lan-
ÿçûêà ìíîãèõ ïðîèçâåäåíèé, ëåãêî
guage of many works, it is easy to feel ìîæíî îùóòèòü ñâÿçè ñ öåëûì ðÿäîì
connections with a number of previous ïðåäøåñòâóþùèõ íåìåöêèõ êîìïî-
German composers, and especially çèòîðîâ, è â ïåðâóþ î÷åðåäü ñ
È.Ñ.Áàõîì. Ïîëèôîíèÿ ïðîíèçûâàåò
with J.S.Bach. Polyphony permeates
òâîð÷åñòâî Ðåãåðà. Áóêâàëüíî âñå åãî
Reger's work. Literally all of his large
êðóïíûå ñî÷èíåíèÿ çàâåðøàþòñÿ ôó-
compositions end with a fugue, which
ãîé, êîòîðàÿ äëÿ íåãî áûëà åñòå-
for him was a natural individual form
ñòâåííîé èíäèâèäóàëüíîé ôîðìîé
of a musical message. “For Reger, po-
ìóçûêàëüíîãî âûñêàçûâàíèÿ. «Äëÿ
lyphony is not a musical-mathematical
Ðåãåðà ïîëèôîíèÿ íå åñòü ìóçûêàëü-
fun,” wrote Russian critic V. íî-ìàòåìàòè÷åñêàÿ çàáàâà,— ïèñàë
Karatygin, “but is the same indispen- ðóññêèé êðèòèê Â. Êàðàòûãèí,— íî
sable form of musical thinking itself, åñòü òàêàÿ æå íåïðåìåííàÿ ôîðìà
ñàìîãî ìóçûêàëüíîãî ìûøëåíèÿ,
like the time and space are for our or-
êàêîâîé äëÿ îáû÷íûõ íàøèõ ìûñëåé
dinary thoughts”. But Reger’s polyph-
ÿâëÿåòñÿ âðåìÿ è ïðîñòðàíñòâî». Íî
ony is not Bach’s stylistic imitation,
ðåãåðîâñêàÿ ïîëèôîíèÿ — ýòî íå
his harmonic and melodic language is
ñòèëèñòè÷åñêîå ïîäðàæàíèå Áàõó,
saturated with chromatics, alterations,
ãàðìîíè÷åñêèé è ìåëîäè÷åñêèé ÿçûê
in which the influence of Liszt and
ó íåãî íàñûùåí õðîìàòèêîé, àëüòå-
Wagner, and the subsequent complica- ðàöèÿìè, â êîòîðûõ ÿñíî îùóùàåòñÿ
tion of romantic harmony is clearly âëèÿíèå Ëèñòà, Âàãíåðà, ïîñëåäóþ-
4
felt. And the world of images of his ùåå óñëîæíåíèå ðîìàíòè÷åñêîé ãàð-
works reflects the “confusion of con- ìîíèè. È ìèð îáð àçîâ åãî ñî÷èíåíèé
îòðàæàåò «ñìÿòåííîñòü ñîçíàíèÿ»
sciousness” of the artist at the turn of
õóäîæíèêà ïåðåëîìíîé ýïîõè —
centuries, - along with lyrical soulful-
íàðÿäó ñ ëèðè÷åñêîé çàäóøåâíîñòüþ
ness or purely German heaviness, we
èëè ÷èñòî íåìåöêîé òÿæåëîâåñíî-
hear in his works echoes of unsteady,
ñòüþ, ìû ñëûøèì â åãî ïðîèçâåäå-
uncertain moods, some amazing tran-
íèÿõ îòãîëîñêè çûáêèõ, íåîïðåäå-
sitions that seem illogical. "Sometimes
ëåííûõ íàñòðîåíèé, êàêèå-òî óäèâè-
his music is strange and at first òåëüíûå ïåðåõîäû, êàæóùèåñÿ àëî-
glance confused and messy, like ãè÷íûìè. «Ïîðîþ åãî ìóçûêà ñòðàí-
dreams". Such images are also not íà è íà ïåðâûé âçãëÿä ñïóòàíà è
completely new: they have already áåñïîðÿäî÷íà, êàê ñíû». Ïîäîáíîãî
ðîäà îáðàçû òàêæå íå ÿâëÿþòñÿ àá-
been in the music of a number of
ñîëþòíî íîâûìè: îíè óæå âñòðå÷à-
German composers, Schumann first of
ëèñü â ìóçûêå ðÿäà íåìåöêèõ êîìïî-
all. In many of Reger's works, the
çèòîðîâ, è â ïåðâóþ î÷åðåäü Øóìà-
lush, sensual harmonic outfit conflicts
íà. Âî ìíîãèõ ïðîèçâåäåíèÿõ Ðåãåðà
with the complexity of a polyphonic
ïûøíûé, ÷óâñòâåííûé ãàðìîíè÷å-
texture, consisting of the simultane-
ñêèé íàðÿä âñòóïàåò â ïðîòèâîðå÷èå
ous combination of several independ-
ñî ñëîæíîñòüþ ïîëèôîíè÷åñêîé òêà-
ent, elegantly designed lines. The den- íè, ñîñòîÿùåé èç îäíîâðåìåííîãî ñî-
sity of the texture sometimes deprives ÷åòàíèÿ íåñêîëüêèõ ñàìîñòîÿòåëü-
his writings of the immediacy of im- íûõ, èçÿùíî ðàçðàáîòàííûõ ëèíèé.
pression, giving them the cold charac- Ïëîòíîñòü òêàíè ïîä÷àñ ëèøàåò åãî
ter of intellectualism and rationality. ñî÷èíåíèÿ íåïîñðåäñòâåííîñòè âîç-
Thus, Reger, seeking to enrich the äåéñòâèÿ, ïðèäàâàÿ èì õîëîäíûé õà-
ðàêòåð èíòåëëåêòóàëèçìà, ðàññóäî÷-
texture as much as possible, ultimate-
íîñòè. Òàêèì îáðàçîì, Ðåãåð, ñòðå-
ly impoverishes his music.
ìÿñü ìàêñèìàëüíî îáîãàòèòü ôàêòó-
By the end of his life, Reger's ðó, â êîíå÷íîì ñ÷åòå îáåäíÿåò ñâîþ
style becomes more balanced. His late ìóçûêó.
works ! and first of all the orchestral
Ê êîíöó æèçíè ìàíåðà ïèñüìà
“Variations and Fugue on a Theme by
Ðåãåðà ñòàíîâèòñÿ áîëåå óðàâíîâå-
Mozart” ! are characterized by classi-
øåííîé. Åãî ïîçäíèì ïðîèçâåäåíèÿì
cal clarity of form, simplicity of lan-
— è â ïåðâóþ î÷åðåäü îðêåñòðîâûì
guage, refinement of instrumentation.
«Âàðèàöèÿì è ôóãå íà òåìó Ìîöàð-
The economical use of means of ex-
òà» — ïðèñóùè êëàññè÷åñêàÿ ÿñ-
pression, linearity of development in
íîñòü ôîðìû, ïðîñòîòà ÿçûêà, óòîí-
this work illuminate the path leading
÷åííîñòü èíñòðóìåíòîâêè. Ýêîíîìèÿ
to the composers of the next genera-
ñðåäñòâ, ëèíåàðíîñòü ðàçâèòèÿ â ýòîì
tion ! and first of all to Hindemith.
ïðîèçâåäåíèè îñâåùàþò ïóòü, âåäó-
In the selection of piano genres, ùèé ê êîìïîçèòîðàì ñëåäóþùåãî
Reger continues the tradition of ïîêîëåíèÿ — è â ïåðâóþ î÷åðåäü ê
Brahms (and further, Schumann) ! he Õèíäåìèòó.
5
has several monumental variations cy- Â âûáîðå æàíðîâ ôîðòåïèàí-
cles, as well as many small “character- íîãî òâîð÷åñòâà Ðåãåð ïðîäîëæàåò
òðàäèöèè Áðàìñà (è äàëåå — Øóìà-
istic” pieces combined into collections.
íà) — åìó ïðèíàäëåæèò íåñêîëüêî
Reger does not have piano sonatas at
ìîíóìåíòàëüíûõ âàðèàöèîííûõ
all (remember that Brahms has written
öèêëîâ, à òàêæå ìíîæåñòâî ìåëêèõ
all his piano sonatas in the early
«õàðàêòåðíûõ» ïüåñ, îáúåäèíåííûõ â
years, turning later to variations). It
ñáîðíèêè. Ôîðòåïèàííûõ ñîíàò ó Ðå-
is interesting to note that regarding
ãåðà íåò ñîâñåì (âñïîìíèì, ÷òî è ó
“Variations and Fugue on a Theme by Áðàìñà âñå ôîðòåïèàííûå ñîíàòû
Beethoven” for two pianos, which is íàïèñàíû â ðàííèé ïåðèîä òâîð÷å-
one of the peaks of Reger's piano ñòâà, óñòóïèâ âïîñëåäñòâèè ìåñòî âà-
ðèàöèÿì). Èíòåðåñíî îòìåòèòü, ÷òî
work, the reviewer of the “Russian
ïî ïîâîäó «Âàðèàöèé è ôóãè íà òåìó
Musical Newspaper” wrote directly
Áåòõîâåíà» äëÿ äâóõ ôîðòåïèàíî,
(they were performed by Reger to-
êîòîðûå ÿâëÿþòñÿ îäíîé èç âåðøèí
gether with A. Siloti in one of Peters-
ôîðòåïèàííîãî òâîð÷åñòâà Ðåãåðà,
burg concerts): “It can be said ! with-
ðåöåíçåíò «Ðóññêîé ìóçûêàëüíîé
out much risk of making a mistake ! ãàçåòû» ïðÿìî ïèñàë (îíè áûëè èñ-
that since the time of Brahms' piano ïîëíåíû Ðåãåðîì ñîâìåñòíî ñ
compositions there hasn’t been such a À.Çèëîòè â îäíîì èç ïåòåðáóðãñêèõ
large and artistic work in this field in êîíöåðòîâ): «Ìîæíî ñêàçàòü, — áåç
îñîáîãî ðèñêà îøèáèòüñÿ, — ÷òî ñî
Germany”.
âðåìåíè ôîðòåïèàííûõ êîìïîçèöèé
Áðàìñà â Ãåðìàíèè íå ïîÿâëÿëîñü
Reger's large piano works im-
ñòîëü êðóïíîãî è õóäîæåñòâåííîãî
pose enormous demands on the per-
ñîçäàíèÿ â ýòîé îáëàñòè».
former’s technical abilities, but, in
addition to purely virtuoso difficul- Êðóïíûå ôîðòåïèàííûå ïðî-
èçâåäåíèÿ Ðåãåðà ïðåäúÿâëÿþò ãðî-
ties, Reger’s texture has special fea-
ìàäíûå òðåáîâàíèÿ ê òåõíè÷åñêèì
tures already mentioned by us ! it is
ðåñóðñàì èñïîëíèòåëÿ, íî, ïîìèìî
unusually dense, viscous, polyphonic.
÷èñòî âèðòóîçíûõ ñëîæíîñòåé, ôàê-
To some extent, it can be likened to an
òóðå Ðåãåðà ïðèñóùè îñîáûå, óæå
organ texture, which, when performed
óïîìèíàâøèåñÿ íàìè ÷åðòû, — îíà
in the corresponding register, turns
íåîáû÷àéíî ïëîòíàÿ, âÿçêàÿ, ïîëè-
into a colorful and multifaceted musi- ôîíèçèðîâàííàÿ. Åå â êàêîé-òî ñòå-
cal picture. A pianist — whose in- ïåíè ìîæíî óïîäîáèòü îðãàííîé
strument doesn’t have any organ reg- ôàêòóðå, êîòîðàÿ ïðè èñïîëíåíèè â
ñîîòâåòñòâóþùåé ðåãèñòðîâêå ïðå-
isters — needs to have a skilful tech-
âðàùàåòñÿ â êðàñî÷íóþ è ìíîãîïëà-
nique, primarily of a coloristic nature,
íîâóþ ìóçûêàëüíóþ êàðòèíó. Ïèà-
to unload the Reger’s texture. He
íèñòó — èíñòðóìåíò êîòîðîãî ëèøåí
must have the ability to vary the
îðãàííûõ ðåãèñòðîâ — äëÿ ðàçãðóçêè
strength and color of the sound signif- ðåãåðîâñêîé òêà íè òðåáóåòñÿ ãðîìàä-
icantly — even within a small dynamic
íîå ìàñòåðñòâî, â ïåðâóþ î÷åðåäü êî-
range — in order to be able to balance ëîðèñòè÷åñêîãî õàðàêòåðà. Îí äîë-
each vertical, individualize each sound æåí âëàäåòü ñïîñîáíîñòüþ çíà÷è-
6
entering it. He must hear a sound per- òåëüíîãî âàðüèðîâàíèÿ ñèëû è
îêðàñêè çâóêà — äàæå â ïðåäåëàõ
spective in order to use whole sound
íåáîëüøîãî äèíàìè÷åñêîãî äèàïàçî-
complexes for “colouring” the sound,
íà, — ÷òîáû ñóìåòü ñáàëàíñèðîâàòü
making him “stereophonic”.
êàæäóþ âåðòèêàëü, èíäèâèäóàëèçè-
ðîâàòü êàæäûé çâóê, âõîäÿùèé â
The uniqueness of the Regers'
íåå. Îí äîëæåí ñëûøàòü çâóêîâóþ
piano compositions gave rise ! at the
ïåðñïåêòèâó, ÷òîáû èñïîëüçîâàòü öå-
beginning of the 20th century ! to a
ëûå çâóêîâûå êîìïëåêñû â ðîëè
whole galaxy of pianists ! Reger’s «ïîäêðàñêè» çâó÷àíèÿ, «ñòåðåîôîíè-
works’ performers. These are, first of çèðîâàòü» åãî.
all, his friends: pianist Frieda Kwast-
Ñâîåîáðàçèå ðåãåðîâñêèõ ôîð-
Hodapp (1880!1949) ! a piano concer-
òåïèàííûõ ñî÷èíåíèé ïîðîäèëî — â
to was dedicated to her ! and the fa-
íà÷àëå XX âåêà — öåëóþ ïëåÿäó ïè-
mous propagandist of the Regers’ àíèñòîâ — èñïîëíèòåëåé Ðåãåðà. Ýòî,
compositions, according to contempo- â ïåðâóþ î÷åðåäü, åãî äðóçüÿ: ïèà-
raries, was undoubtedly their author. íèñòêà Ôðèäà Êâàñò-Ãîäàïï (1880—
1949) — åé áûë ïîñâÿùåí ôîðòåïèà-
“If they argued ardently about Reger
ííûé êîíöåðò — è èçâåñòíûé ïðîïà-
the composer, then Max Reger the pi-
ãàíäèñò ðåãåðîâñêèõ ñî÷èíåíèé, ïî
anist was indisputable”, W. Niemann
ñâèäåòåëüñòâó ñîâðåìåííèêîâ, áûë,
wrote. As a pianist, Reger performed
áåç ñîìíåíèÿ, èõ àâòîð. «Íàñêîëüêî
throughout his life. There’s a very in-
ãîðÿ÷î ñïîðèëè î Ðåãåðå-
teresting letter dated February 15,
êîìïîçèòîðå, íàñòîëüêî íåîñïîðè-
1893 to Lindner, referring to the very ìûì áûë Ìàêñ Ðåãåð-ïèàíèñò», —
beginning of Reger's pianistic activity ïèñàл Â.Íèìàí.  êà÷åñòâå ïèàíèñòà
! the years of study in Wiesbaden: Ðåãåð âûñòóïàë íà ïðîòÿæåíèè âñåé
“Yes, my Bach transcriptions are ex- ñâîåé æèçíè. Ñîõðàíèëîñü î÷åíü ëþ-
áîïûòíîå ïèñüìî îò 15 ôåâðàëÿ 1893
tremely complicated, and doctor Carl
ãîäà ê Ëèíäíåðó, îòíîñÿùååñÿ ê ñà-
Fuchs, a titanic pianist, nearly broke
ìîìó íà÷àëó ïèàíèñòè÷åñêîé äåÿ-
his hands playing them; but I can play
òåëüíîñòè Ðåãåðà — åùё â ïåðèîä
them and have already played one of
îáó÷åíèÿ â Âèñáàäåíå: «Äà, ÷åðòîâ-
them at the Conservatory. Next time
ñêè òðóäíû ìîè áàõîâñêèå îáðàáîò-
(March 6th) I will play another prel- êè, òàê ÷òî ä-ð Êàðë Ôóêñ, êîëîñ-
ude and fugue (D-dur) at a concert in ñàëüíûé ïèàíèñò, íåäàâíî ïåðåëîìàë
the Casino Hall. Next Monday I have íà íèõ âñå ðóêè; íî ÿ æå âåäü ìîãó
to play Beethoven’s G-dur Concerto èõ èãðàòü è èñïîëíÿë óæå îäíó èç
íèõ â Êîíñåðâàòîðèè. Â ñëåäóþùèé
(No. 4); then, as I’ve already an-
ðàç (6 ìàðòà) ÿ áóäó èãðàòü åùё îäíó
nounced, I would perform ! in
ïðåëþäèþ è ôóãó (D-dur) íà êîíöåð-
Tonkunstlerverein in 4 weeks ! new
òå â çàëå Êàçèíî. Â áóäóùèé ïîíå-
Brahms’ piano pieces, op.116 and 117;
äåëüíèê ÿ äîëæåí èãðàòü G-dur’íûé
all this by heart. I also plan to play êîíöåðò (№4) Áåòõîâåíà; çàòåì ÿ óæå
Brahms' Concerto B-dur this summer,
îáúÿâèë äëÿ èñïîëíåíèÿ — â
Beethoven’s C-moll Concerto, then Tonkunstlerverein ÷åðåç 4 íåäåëè —
“Kreislerianà”, “Carnival”, “Symphon- íîâûå ôîðòåïèàííûå ïüåñû Áðàìñà,
7
ic Etudes”, some intermezzo by Schu- op.116 è 117; âñå ýòî íàèçóñòü.
mann, a whole bunch of Chopin’s Ïðåäïîëàãàþ åùå ýòèì ëåòîì ñûã-
ðàòü B-dur’íûé êîíöåðò Áðàìñà, c-
works, two Brahms’ rhapsodies, and
moll’íûé Áåòõîâåíà, çàòåì «Êðåéñ-
so on. So, I entered the path of a pia-
ëåðèàíó», «Êàðíàâàë», «Ñèìôîíè÷å-
nist. Of course, the composition is
ñêèå ýòþäû», ðÿä èíòåðìåööî Øó-
basic. As a pianist, I really need to
ìàíà, öåëóþ êó÷ó ïðîèçâåäåíèé Øî-
achieve one thing ! namely, iron
ïåíà, äâå ðàïñîäèè Áðàìñà è òàê äà-
calmness on the stage...". ëåå. Èòàê, ÿ âñòóïèë íà ïóòü ïèàíè-
ñòà. Ðàçóìååòñÿ, êîìïîçèöèÿ — îñ-
From this letter it is clear that,
íîâíîå. Êàê ïèàíèñòó ìíå î÷åíü
regardless of the shortcomings that
íóæíî äîñòèãíóòü îäíîãî — à èìåí-
Reger himself is aware of (lack of íî, æåëåçíîãî ñïîêîéñòâèÿ íà ýñòðà-
freedom), he is already at this time äå…».
(judging by the repertoire) fully
Èç ýòîãî ïèñüìà âèäíî, ÷òî,
armed with pianistic skills. Moreover,
íåçàâèñèìî îò íåäîñòàòêîâ, êîòîðûå
the choice of the authors is also char-
ñîçíàåò è ñàì Ðåãåð (îòñóòñòâèå ñâî-
acteristic of Reger ! again Bach and
áîäû), îí óæå â ýòî âðåìÿ (ñóäÿ ïî
romantics Schumann, Brahms. Even
ðåïåðòóàðó) ñòîèò âî âñåîðóæèè ïèà-
among the Beethoven concertos in his
íèñòè÷åñêîãî ìàñòåðñòâà. Êðîìå òî-
repertoire there is the most romantic, ãî, õàðàêòåðåí äëÿ Ðåãåðà è âûáîð
the Fourth. àâòîðîâ — íåèçìåííûé Áàõ è ðîìàí-
òèêè — Øóìàí, Áðàìñ. Äàæå èç áåò-
In order to make it easier for
õîâåíñêèõ êîíöåðòîâ â åãî ðåïåðòóà-
readers to get closer to the style of ðå íàèáîëåå ðîìàíòè÷íûé — Чåòâåð-
Reger’s music and, ultimately, to òûé.
shorten the path leading to its per-
formance, we find it useful to get to Äëÿ òîãî, ÷òîáû îáëåã÷èòü ÷è-
know with Reger’s perfoming manner òàòåëÿì ïðèáëèæåíèå ê ñòèëþ ðåãå-
ðîâñêîé ìóçûêè è, â êîíå÷íîì ñ÷åòå,
according to statements of critics, his
óêîðîòèòü ïóòü, âåäóùèé ê åå èñïîë-
contemporaries. Already mentioned by
íåíèþ, íàì ïðåäñòàâëÿåòñÿ ïîëåç-
us W. Niemann in his book “Masters
íûì îçíàêîìèòüñÿ ïî âûñêàçûâàíè-
of the Piano” wrote: “When a power-
ÿì êðèòèêîâ — åãî ñîâðåìåííèêîâ —
ful and stocky maestro sat at the pi-
ñ îñîáåííîñòÿìè èñïîëíèòåëüñêîãî
ano, judging by his looks they already èñêóññòâà Ðåãåðà. Óæå óïîìèíàâ-
expected a rough and harsh playing, øèéñÿ íàìè Â. Íèìàí â ñâîåé êíèãå
like the piano play of some inborn «Ìàñòåðà ôîðòåïèàíî» ïèøåò: «Êî-
German organist. And how different ãäà ìîãó÷èé è êîðåíàñòûé ìàýñòðî
ñàäèëñÿ çà ðîÿëü, òî óæå ïî âíåøíå-
was the very first sound taken by
ìó âèäó îæèäàëè ãðóáîâàòîé è ðåç-
him! Of course, Reger played the
êîé èãðû — ïîäîáíîé ôîðòåïèàííîé
piano like he would play the organ, in
èãðå êàêîãî-íèáóäü ïðèðîæäåííîãî
other words, to some extent he used
íåìåöêîãî îðãàíèñòà. Íàñêîëüêî æå
his “registers” and most willingly
èíûì îêàçàëñÿ óæå ïåðâûé çâóê,
changed them from steel fortissimo to âçÿòûé èì! Ðàçóìååòñÿ, Ðåãåð è íà
muted, shaded or whistling piano or ðîÿëå èãðàë êàê áóäòî íà îðãàíå,
8
pianissimo. The reasonable intermedi- èíà÷å ãîâîðÿ, îí â êàêîé-òî ñòåïåíè
ïîëüçîâàëñÿ ñâîèìè «ðåãèñòðàìè» è
ate shades of sense and sound were
íàèáîëåå îõîòíî ñìåíÿë èõ îò ñòàëü-
completely absent. But how organ-like
íîãî ôîðòèññèìî ê ïðèãëóøåííîìó,
did he play the piano! His play was a
çàòåíåííîìó èëè ñâèñòÿùåìó ïèàíî
direct reconstruction ! the creative
èëè ïèàíèññèìî. Çäîðîâûå ïðîìåæó-
process of an outstanding personality;
òî÷íûå îòòåíêè ÷óâñòâà è çâóêà ïîë-
I would like to estimate this play not íîñòüþ îòñóòñòâîâàëè. Íî êàê ïî-
so much from the piano and technical îðãàííîìó îí èãðàë íà ôîðòåïèàíî!
points of view, as from human and Åãî èãðà áûëà íåïîñðåäñòâåííûì
musical ones. He forgot the audience, âîññîçäàíèåì — ïðîöåññîì òâîð÷å-
ñòâà âûäàþùåéñÿ ëè÷íîñòè; ýòó èãðó
the hall and himself, plunging entirely
õîòåëîñü áû îöåíèâàòü íå ñòîëüêî ñ
into the depths of the music that he
ôîðòåïèàííî-òåõíè÷åñêîé, êàê ñ ÷å-
performed. As a pianist, he was ultra-
ëîâå÷åñêîé è ìóçûêàëüíîé òî÷åê
romantic and even Bach did he play
çðåíèÿ. Îí çàáûâàë ïóáëèêó, çàë è
romantically softly, vaguely, in a
ñåáÿ ñàìîãî, ïîãðóæàÿñü öåëèêîì è
modern way, with a mood, beautifully, ïîëíîñòüþ â ãëóáèíû òîé ìóçûêè,
but spontaneously spreading out and êîòîðóþ èñïîëíÿë. Êàê ïèàíèñò, îí
absolutely not in the Bach style. Play- áûë óëüòðàðîìàíòèê è äàæå Áàõà
ing the pieces of a romantic nature èãðàë ðîìàíòè÷åñêè ìÿãêî, ðàñ-
ïëûâ÷àòî, ïî-ñîâðåìåííîìó, ñ
and, quite particularly, when perform-
íàñòðîåíèåì, êðàñèâî, íî áåñõàðàê-
ing his own works, he, in contrast to
òåðíî ðàñòåêàÿñü è ñîâåðøåííî íå
what was said above, came to be one
ïî-áàõîâñêè.  çàäàíèÿõ ðîìàíòè÷å-
of the most amazing and subtlest po-
ñêîãî õàðàêòåðà è, ñîâåðøåííî îñî-
ets of sound and mood in the whole
áåííî, ïðè èñïîëíåíèè ñâîèõ ñîá-
history of the piano performing. His ñòâåííûõ ïðîèçâåäåíèé îí — â ïðî-
large as well as one-sidedly developed òèâîïîëîæíîñòü âûøåñêàçàííîìó —
personality, the extraordinary energy ñòàíîâèëñÿ îäíèì èç óäèâèòåëüíåé-
øèõ è òîí÷àéøèõ ïîýòîâ çâóêà è
of his form-building will, the incom-
íàñòðîåíèÿ, êàêîãî òîëüêî ìîæåò
parable wealth of delicate mixed piano
íàçâàòü èñòîðèÿ ôîðòåïèàííîé èãðû.
colors gave his piano playing a very
Åãî ñòîëü æå êðóïíàÿ, ñêîëüêî è îä-
much his own “Reger” character, but
íîñòîðîííå ðàçâèòàÿ ëè÷íîñòü,
it was the same style anywhere ! in
íåîáû÷àéíàÿ ýíåðãèÿ åãî ôîðìîîáðà-
Bach, in Beethoven and Schubert, in çóþùåé âîëè, íåñðàâíåííîå áîãàòñòâî
Brahms and in Reger himself". Here íåæíûõ ñìåøàííûõ êðàñîê â ïèàíî
one should, in particular, pay atten- ïðèäàâàëè åãî ôîðòåïèàííîé èãðå
tion to the underlining of dynamic ÿðêî âûðàæåííûé ñîáñòâåííûé «ðå-
ãåðîâñêèé» õàðàêòåð, íî ïîâñþäó ýòî
contrasts ! the comparisons (not only
áûë îäèí è òîò æå ñòèëü — â Áàõå, â
of dynamics, but also of psychological
Áåòõîâåíå è Øóáåðòå, â Áðàìñå è â
states in general), apparently, are
ñàìîì Ðåãåðå». Çäåñü ñëåäóåò, â
characteristic not only of his perform-
÷àñòíîñòè, îáðàòèòü âíèìàíèå íà
ing style, but also of his music in gen-
ïîä÷åðêèâàíèå äèíàìè÷åñêèõ êîí-
eral (contemporary critics noted "the òðàñòîâ — ñîïîñòàâëåíèÿ (íå òîëüêî
absence of transitional tones" in it). äèíàìèêè, íî è âîîáùå ïñèõîëîãè÷å-
9
The subtle characterization of ñêèõ ñîñòîÿíèé), ïî-âèäèìîìó, ÿâ-
Reger the pianist was given by ëÿþòñÿ õàðàêòåðíûìè íå òîëüêî äëÿ
åãî èñïîëíèòåëüñêîãî ñòèëÿ, íî è
Karatygin in the obituary mentioned
äëÿ âñåé åãî ìóçûêè (ñîâðåìåííûå
by us: “...There was no overwhelming
åìó êðèòèêè îòìå÷àëè â íåé «îòñóò-
virtuosity in his play, but there was a
ñòâèå ïåðåõîäíûõ òîíîâ»).
lot of inner warmth and poetry. Deli-
Òîíêóþ õàðàêòåðèñòèêó Ðåãå-
cate, elegant with a slightly noticeable
ðó-ïèàíèñòó äàë è Êàðàòûãèí â óïî-
touch of preciosity, Reger's play be-
ìèíàâøåìñÿ íàìè íåêðîëîãå: «…Â
came especially charming when he per-
åãî èãðå íå áûëî îøåëîìëÿþùåé
formed his own compositions”. âèðòóîçíîñòè, íî áûëî ìíîãî âíóò-
ðåííåé òåïëîòû è ïîýçèè. Äåëèêàò-
Along with large works, Reger íàÿ, èçÿùíàÿ ñ ÷óòü çàìåòíûì ïðè-
wrote many small pieces, combined in âêóñîì ìàíåðíîñòè, èãðà Ðåãåðà ñòà-
íîâèëàñü îñîáåííî îáâîðîæèòåëüíîé,
cycles. In this collection, most of the
êîãäà îí èñïîëíÿë ñâîè ñîáñòâåííûå
numbers are borrowed from such cy-
êîìïîçèöèè».
cles (in accordance with the pedagogi-
cal tasks, pieces of no higher than Íàðÿäó ñ êðóïíîé ôîðìîé, Ðå-
ãåð íàïèñàë ìíîæåñòâî ìåëêèõ ïüåñ,
medium level difficulty were selected).
îáúåäèíåííûõ â öèêëû. Â íàñòîÿùåì
Such cycles of miniatures continue the
ñáîðíèêå áîëüøàÿ ÷àñòü íîìåðîâ êàê
line of similar cycles by Schumann
ðàç çàèìñòâîâàíà èç òàêèõ öèêëîâ (â
and Brahms, with their realistic ex-
ñîîòâåòñòâèè ñ ïåäàãîãè÷åñêèìè çà-
pression of the most subtle movements
äà÷àìè îòáèðàëèñü ïüåñû íå âûøå
of a human soul. And in Reger’s piec-
ñðåäíåé òðóäíîñòè). Òàêèå öèêëû
es as well, one often hears a romantic ìèíèàòþð ïðîäîëæàþò ëèíèþ àíàëî-
yearning, a restless question. For ex- ãè÷íûõ öèêëîâ Øóìàíà è Áðàìñà, ñ
ample, in the “Elegy” (“Seven Fantas- èõ ïðàâäèâîé ïåðåäà÷åé òîí÷àéøèõ
äâèæåíèé ÷åëîâå÷åñêîé äóøè. È â
tic Pieces”) included in this collection,
ïüåñàõ Ðåãåðà ÷àñòî ñëûøàòñÿ ðî-
the beginning simply textually coin-
ìàíòè÷åñêîå òîìëåíèå, ùåìÿùèé âî-
cides (a tone below) with the begin-
ïðîñ. Íàïðèìåð, â ïðèâîäèìûì íàìè
ning of the first song from the Schu-
«Ýëåãèè» («Ñåìü ôàíòàñòè÷åñêèõ
mann's cycle “The Poet's Love”. “Al-
ïüåñ») íà÷àëî ïðîñòî òåêñòóàëüíî
bum Leaf” (“Ten Little Pieces”) is an
ñîâïàäàåò (íà òîí íèæå) ñ íà÷àëîì
exquisite and poetic miniature that ïåðâîé ïåñíè èç øóìàíîâñêîãî öèê-
revives the world of Brahms waltzes. ëà «Ëþáîâü ïîýòà». «Ëèñòîê èç àëü-
“It Was Once” (“Ten Little Pieces”) áîìà» («Äåñÿòü ìàëåíüêèõ ïüåñ») —
èçûñêàííàÿ è ïîýòè÷íàÿ ìèíèàòþðà,
also introduces us to the world of
âîçðîæäàþùàÿ ìèð áðàìñîâñêèõ
Brahms' images ! not only melodic
âàëüñîâ. «Ýòî áûëî îäíàæäû» («Äå-
and harmonic turns, but also the
ñÿòü ìàëåíüêèõ ïüåñ») òàêæå ââîäèò
characteristic Brahmsian texture:
íàñ â ìèð îáðàçîâ Áðàìñà — íå òîëü-
movement by parallel sixths, unfolded
êî ìåëîäè÷åñêèìè è ãàðìîíè÷åñêèìè
figurations of accompaniment, and
îáîðîòàìè, íî òàêæå è õàðàêòåðíîé
complementary rhythms. Reger him- áðàìñîâñêîé ôàêòóðîé: äâèæåíèåì
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