Der 100. Psalm
| Der 100. Psalm | |
|---|---|
| Choral composition by Max Reger | |
The composer at the piano, c. 1910
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| English | The 100th Psalm |
| Key | D major |
| Catalogue | Op. 106 |
| Occasion | 350th anniversary of the Jena University |
| Text | Psalm 100 |
| Language | German |
| Composed | 1908–09 |
| Dedication | Philosophical Faculty of the Jena University |
| Performed | |
| Published | 1916: Leipzig by Peters |
| Movements | 4 |
| Scoring |
|
Der 100. Psalm (The 100th Psalm), Op. 106, is a composition in four movements by Max Reger in D major for mixed choir and orchestra, a late Romantic setting of Psalm 100. Reger began to compose the work in 1908 for the 350th anniversary of Jena University. Part I was premiered on 31 July that year, conducted by Fritz Stein. Reger completed the composition in 1909.[1] It was published that year and premiered on 23 February 1910 simultaneously in both Chemnitz, conducted by the composer, and in Breslau, conducted by Georg Dohrn.
Reger structured the text in four movements, as a choral symphony, and scored it for a four-part choir, with often divided voices, a large symphony orchestra and organ, and additional brass players for the climax in the last movement when four trumpets and four trombones play the melody of Luther's chorale "Ein feste Burg ist unser Gott". Reger used both, late-Romantic features of harmony, and polyphony in the Baroque tradition, culminating in the final movement, a double fugue with the added instrumental cantus firmus.
Paul Hindemith wrote an adaption, and François Callebout wrote an organ version first performed in 2003.
Contents
History[edit]
Reger began the work for the 350th anniversary of the Jena University.[2] He based the composition on Psalm 100 in the translation by Martin Luther.[1] He composed the work in Leipzig, beginning on 24 April 1908 and worked on it until the beginning of July that year. He dedicated it "Der hohen Philosophischen Fakultät der Universität Jena zum 350jährigen Jubiläum der Universität Jena" (To the high Faculty of Philosophy of the University of Jena for the 350th anniversary of the University).[1] Part I was first performed on 31 July 1908 for the university's anniversary. Fritz Stein conducted the Akademischer Chor Jena and the Sängerschaft zu St. Pauli, the band of the 71. Infanterieregiment Erfurt and members of the Weimar court orchestra (Weimarer Hofkapelle), and organist Kurt Gorn.[1] After the first performance, Reger received an honourary doctorate from the Jena University.[2][3] Reger demanded many rehearsals from the conductor and wrote to him: *Die Hörer des Psalms müssen nachher als 'Relief‘ an der Wand kleben; ich will, dass der Psalm eine niederschmetternde Wirkung bekommt! Also sei so gut und besorge das!" (The listeners of the psalm must stick as a 'relief' to the wall afterwards; I want the psalm to make a smashing impression! So be good and care for that.)[4]
Reger completed the composition of the psalm in May to August 1909.[1] The work was published by Peters in Leipzig, first the vocal score with piano in September 1909, with the piano reduction prepared by Reger himself. The score and the parts appeared in December that year.[1] The complete work was premiered simultaneously on 23 February 1910 in both Chemnitz and Breslau. In Chemnitz, Reger conducted the church choir of St. Lukas and the municipal orchestra (Städtische Kapelle), with Georg Stolz at the organ. In Breslau, Georg Dohrn conducted the Sing-Akademie and the Orchester-Verein, with organist Max Ansorge.[1] A reviewer wrote in the journal NMZ: "Noch unter dem Eindruck des Gehörten, des Miterlebten stehend, ist es mir unsagbar schwer, all das Tiefempfundene, das Erhabene und Göttliche jener Stunde hier zum Ausdruck zu bringen. Man war tief erschüttert, als die gewaltige Doppelfuge verklungen war, hatte etwas Unvergessliches erlebt." (Still under the impression of what we heard and experienced, it is unspeakably difficult for me to express here all the deeply experienced, the sublime and divine of that hour. One was deeply shaken, when the gigantic double fugue ended, had experienced something unforgettable.")[4]
Structure and scoring[edit]
The text of the psalm is structured in four movements, as a choral symphony:[5] The following table is based on the choral score and shows the movement number, incipit, the verse(s) of the Psalm, voices (SATB chorus, at times divided further), marking, key (beginning and ending in D major) and time, using the symbol for common time.[4]
| No. | Text | Verse | Vocal | Marking | Key | Time |
|---|---|---|---|---|---|---|
| 1 | Jauchzet | 1,2 | SATB | Maestoso (animato) | D major | |
| 2 | Erkennet | 3 | SSAATTBB | Andante sostenuto | ||
| 3 | Gehet zu seinen Toren ein | 4 | SSAATTBB | Allegretto con grazia | 3/4 | |
| 4 | Denn der Herr ist freundlich | 5 | SATB | Maestoso | D major |
The work is scored for a four-part choir, with often divided voices, and an orchestra of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, three timpani and more percussion, organ, and strings. In the final movement, an additional brass ensemble of four trumpets and four trombones plays the cantus firmus of Luther's chorale "Ein feste Burg ist unser Gott".[1]
All movements are written in D major, but Reger often modulates.[4] The movements follow each other without a break.[6] A short instrumental introduction, marked Andante sostenuto, leads to the fourth movement.[4]
Jauchzet[edit]
A timpani roll on C of two measures leads to an orchestral D major chord in the third measure, marked ff, and a syncopated entry of the choir one beat later, pronouncing in unison "Jauchzet, jauchzet" (Rejoice, rejoice). In different expression, this phrase is repeated, until the text is continued in measure 16 by "dem Herrn alle Welt" (to the Lord, all world).[4] Fred Kirshnit, who introduced the piece for a performance of the American Symphony Orchestra, regarded the treatment of the line as an "orchestral explosion",[5]
In contrast, the following verse, beginning with "Dienet" (Serve), is quiet, marked sostenuto and pp.[4] From the lowest voice to the highest, the material is expanded in imitation, with all voices divided. The phrase "Dienet dem Herrn" is first sung by the alto, imitated by the other voices. "Dienet dem Herrn mit Freuden" appears first in the lower voices, while the sopranos expand the theme one measure later, marked espressivo und crescendo.[4] Joyful groups of sixteenths appear, first in single voices, then in denser texture, leading to the first topic, "Jauchzet". In measure 111 the third topic appears, "Kommt". This word is again repeated many times before the phrase is continued, "vor sein Angesicht" (before his face), later also "mit Frohlocken" (with shouts of joy). In measure 130, a reprise of the first section leads to a close of the movement in a unison "alle Welt", with a fermata on every syllable.[4]
Erkennet[edit]
The second movement begins with a soft instrumental introduction of thirteen measures. Horns and trombones play first in unison three times the same note, which could be the sung as the first word, "Erkennet" (Realize)“. The rhythm dominates the introduction. The choir picks up, singing it first on a unison C, marked ppp. After several repetitions, the phrase is continued in measure 26: "dass der Herr Gott ist" (that the Lord is God) with a rapid crescendo from Lord to God. In a middle section the divided voices express, mostly in homophony: "Er hat uns gemacht und nicht wir selbst" (He has made us, and not we ourselves", followed by a reprise of the first topic, now ending pp.[4] The movement has been described as "mysteriously, almost spectrally", with a solo violin picturing the "sheep of his pasture".[5]
Gehet zu seinen Toren ein[edit]
The key of F-sharp minor and a triple meter are introduced by the orchestra. The divided female voices express in homophony and "dolcissimo": "Gehet zu seinen Toren ein" (Go enter his gates), with the measure most often divided in a halfnote and a quarter. The male voices answer "Gehet" (Go), then the female voices repeat their line in a new version. The play is repeated, now the male voices beginning. The following text appears in growing density and intensity, modulating constantly, ending in C major.[4]
Denn der Herr ist freundlich[edit]
After a short instrumental prelude, soprano and tenor sing simultaneously the two themes of a double fugue on the text "Denn der Herr ist freundlich" (For the Lord is friendly). Both themes are lively, but have their fastest movement at different times. After an instrumental interlude from measure 77, the themes appear in measure 91 in bass and soprano, while the melody of Luther's "Ein feste Burg ist unser Gott" are played by brass in unison. The work ends, slowing down majestically, with the text "und seine Wahrheit für und für" (and his truth for ever and ever).[4]
Evaluation[edit]
A reviewer of a recording noted the work's "quasi-symphonic sequence" and its "balanced overall shape which brings musical satisfaction even though the choral-orchestral presentation is at times somewhat unrelenting".[7]
Versions[edit]
Paul Hindemith revised the work to achieve more clarity.[5] According to Wolfgang Rathert, Hindemith "sought to moderate Reger's 'uncontrolled invention'.[8] Kirshnit described Reger's original scoring as "gloriously polychromatic".[5]
François Callebout wrote an organ version that was published in 2004 by Dr. J. Butz. Gabriel Dessauer explains in the preface that the work was conceived for oratorio choirs at the beginning of the 20th century, of up to 500 singers. The organ version enables smaller choirs to perform the music.[4] The organ version was premiered in 2003 by the Reger-Chor in St. Bonifatius, Wiesbaden, the parish to which the composer belonged during his studies in Wiesbaden.[9]
Reger Year[edit]
In 2016, celebrating the centenary of Reger's death, the work was performed at the Thomaskirche in Leipzig on 11 May, his day of death in the town. The Leipziger Universitätschor (Leipzig University Choir) and the MDR Sinfonieorchester were conducted by David Timm.[10][11] Two days later the MDR aired a live concert recording from 1984 at the Kreuzkirche in Dresden, performed by the Dresdner Kreuzchor, the Philharmonischer Chor Dresden, the Rundfunkchor Berlin, organist Michael-Christfried Winkler, the Dresdner Philharmonie, conducted by Martin Flämig.[12]
Recordings[edit]
| Title | Conductor / Choir / Orchestra | Soloists | Label | Year |
|---|---|---|---|---|
| Reger: Psalm 100, etc.[13][7] (Hindemith arrangement) |
Polyansky, ValeriValeri Polyansky Russian State Symphony Orchestra | Chandos | 2002 | |
| Der 100. Psalm[14] (organ version) |
Dessauer, GabrielGabriel Dessauer Reger-Chor | Ignace Michiels (organ) | live recording of the premiere | 2003 |
| Reger - Timm: 100th Psalm - Jazzmesse[13] | Biller, Georg ChristophGeorg Christoph Biller Leipzig University Choir Gewandhausorchester | Querstand | 2014 |
References[edit]
- ^ a b c d e f g h Institute 2016.
- ^ a b Biography 2016.
- ^ Leipzig 2016.
- ^ a b c d e f g h i j k l m Score 2004.
- ^ a b c d e Kirshnit 2006.
- ^ Eidenbenz 2016.
- ^ a b Barfoot 2009.
- ^ Luttmann 2013.
- ^ Kurier 2003.
- ^ Reger in Leipzig 2016.
- ^ Centenary 2016.
- ^ Dresden 2016.
- ^ a b Prestoclassical 2016.
- ^ Michiels 2016.
Bibliography[edit]
Scores
- Psalm 100, Op.106 (Reger, Max): Scores at the International Music Score Library Project
- Max Reger / 1873–1916 / Der 100. Psalm (in German). Bonn: Dr. J. Butz. 2004.
Max-Reger-Institut
- "Curriculum vitae". Max-Reger-Institute. Retrieved 3 April 2010.
- "Der 100. Psalm Op. 106" (in German). Max-Reger-Institute. Retrieved 22 April 2016.
Books
- Luttmann, Stephen (2013). Paul Hindemith: A Research and Information Guide. Routledge Music Bibliographies (2, revised, annotated ed.). Routledge. ISBN 9781135848415. Retrieved 9 May 2016.
Newspapers
- "„Niederschmetternd" / Eine Reger-Uraufführung in St. Bonifatius". Wiesbadener Kurier. 8 September 2003.
Online sources
- Barfoot, Terry (2009). "Max Reger (1873–1916) / Four Tone Poems after Böcklin, Op. 128". musicweb-international.com. Retrieved 13 July 2016.
- Eidenbenz, Michael Eidenbenz. "M. Reger: / 100. Psalm" (PDF). Zürcher Bach Chor. Retrieved 26 August 2016.
- Kirshnit, Fred (2006). "Max Reger, Psalm 100, Op. 106". American Symphony Orchestra. Retrieved 9 May 2016.
- "Leipziger Universitätschor gedenkt Max Regers mit Festkonzert" (in German). Leipzig. 4 May 2016. Retrieved 16 June 2016.
- "Max Reger: Der 100. Psalm op.106 / Aufzeichnung aus der Kreuzkirche Dresden 1984" (in German). MDR. Retrieved 16 June 2016.
- "Max Reger in Leipzig" (in German). leipzig-lese.de. 2016. Retrieved 9 May 2016.
- "Discography". Ignace Michiels. 2016. Retrieved 24 August 2016.
- "Reger: Psalm 100". prestoclassical.co. Retrieved 24 August 2016.
- "Festkonzert zum 100. Todestag von Max Reger" (in German). reger-in-leipzig.de. 2016. Retrieved 4 June 2016.