“The art of german organ-playing” goes on!
And the year of Max Reger continues too!
I’m very happy with this year. Organists all over the world celebrated Reger’s works, me too, and – not least – public attention included.
I told you some facts about the ‘Straube Tradition’ concerning the interpretation of the organ-compositions written by Max Reger. In the period of my own studies in organ-playing those organists, have had lessons with Karl Straube, were still actif, and to assist their recitals and to alive their personality created a very emotional, direct and deep impression for the young guys, who just started to enter in the marvellous world of organ-playing. And you must consider: playing an instrument doesn’t means only a matter of spirit and emotion, but also matter of technique. To see and hear the manner of techical realization of Regers scores by them wasn’t nothing else than stupendous! The Straube Tradition created possibitilies to realize Regers works with instruments of different styles.
You must know, that the style in organ-building in Germany changed in the epoque of Regers death. Starting with the end of world-war I the aesthetics of the german organ begun to adapt features of 17th and 18th century. Straube and his tradition tried to find techniques to realize the compositions of Reger with this new generation of modern instruments. And indeed you can discuss about details of their measures, but there is no doubt, that it was realized with deep knowledge about the caracteristics of Regers works. It’s our task to decide, which detail we accept and which detail we refuse. But the very emotional relation of these outstanding personalities in organ-playing is the most precious factor in this tradition. And it’s my opinion, that Regers organ-works are so important, that they should played on organs all over the world, whatever the style of the different organs may be.