Max Reger and Historicist Modernisms

Max Reger and Historicist Modernisms
Item# Book5955
$76.00

Product Description

The first comprehensive English-language account of Regerís úuvre, Antonius Bittmann emphatically revises misconceptions about Regerís music which has often been stigmatized because of its indebtedness to earlier composers, especially Brahms. As Bittmann argues, Reger does not turn to historical models in order to preserve or reconstitute antiquated musical languages; rather, viewing himself as a horseman ďriding steadfastly to the left,Ē Reger appropriates the musical past for the most modern ends. Reflecting upon conflicting notions of musical progress, the Phantasie und Fuge Łber den Namen B-A-C-H, Op. 46, relies on revered traditions to restore cultural health, whereas his Fourth Violin Sonata, Op. 72, adulterates its compositional models with epithets. Regerís desire to escape the shadow of his great predecessors is evident in works that manifest an aesthetic and intellectual current that probe the psychological underpinnings of creation and reception of art, leading him to eschew history altogether. Taking a strong interest in reception history, Bittmann reassesses Regerís work by drawing on a wide array of interdisciplinary sources in literary criticism, philosophy, and cultural history. Antonius Bittmann teaches musicology at Rutgers University and holds graduate degrees from Eastman and the Staatliche Hochschule fŁr Musik in Freiburg. Published 2004. 320 pages