Max Reger’s Suite Nº 1 for violoncello solo and the writings of J.S. Bach: dependence relations and language identity

This article aims at demonstrating how Max Reger employs musical patterns of J. S. Bach as models for the construction of his Suite Op. 131c nº 1 for cello solo. Thus, in his compositions Reger combines harmonic elements from the end of the 19th century with contrapuntal techniques of J. S. Bach. The influence of the German master can be traced from the choice of tonalities to the use of motives, which are, in fact, expansions and transformations of “bachian” motifs. Consequently, this article discusses the compositional techniques employed by Reger in the Suite Op. 131c nº 1 for cello solo. It also draws a parallel between this particular composition and movements from J. S. Bach’s cello suites. Endorsed by a compositional language based on chromaticism, Reger redeems the Suite as a genre for the cello solo literature and, at the same time, under the aegis of the late romantic aesthetic, he creates a work with unique style and characteristic. Based on these premises, this work aims to support the performer in her/his musical decisions.

Max Reger; J.S. Bach; suite for cello solo; performance practices