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Rudolf Buchbinder

Brahms * Reger Song Transcriptions

Deutsche Grammophon
Release Date: March 15, 2024

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1 No_ 1, Liebestreu  
2 No_ 4, Der Schmied  
3 No_ 4, An die Nachtigall  
4 No_ 3, Sonntag  
5 No_ 1, Am Sonntag Morgen  
6 No_ 2, An ein Veilchen  
7 No_ 4, Wiegenlied  
8 No_ 5, Minnelied  
9 No_ 1, Alte Liebe  
10 No_ 1, Sommerabend  
11 No_ 4, Vergebliches Sta¨ndchen  
12 No_ 6, In Waldeinsamkeit  
13 No_ 2, Feldeinsamkeit  
14 No_ 3, Nachtwandler  
15 No_ 4, U¨ber die Heide  
16 No_ 4, Sapphische Ode  
17 No_ 4, Der Ja¨ger  
18 No_ 1, Der Tod, das ist die ku¨hle Nacht  
19 No_ 2, Wir wandelten, wir zwei zusammen  
20 No_ 1, Nachtigall  
21 No_ 4, Dort in den Weiden steht ein Haus  
22 No_ 1, Wie Melodien zeiht es mir  
23 No_ 2, Immer leiser wird mein Schlummer  
24 No_ 4, Auf dem Kirchhofe  
25 No_ 1, Sta¨ndchen  
26 No_ 2, Salamander  
27 No_ 3, Das Ma¨dchen spricht  
28 No_ 5, Ma¨dchenlied  
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Universally recognised as one of the world’s greatest pianists, Rudolf Buchbinder has spent many years exploring the masterworks of Austro-German Classical and Romantic music. For his latest Deutsche Grammophon album he brings his intellectual expertise and interpretative insight to a neglected corner of that repertoire – Max Reger’s lovingly crafted transcriptions for solo piano of 28 songs by Johannes Brahms. Recorded in 2023, the 150th anniversary of Reger’s birth, Brahms · Reger – Song Transcriptions will be released digitally and on CD on 22 March 2024, while Buchbinder’s performances of Wiegenlied and In Waldeseinsamkeit are already available to stream or download.

As well as being a prolific composer in his own right, producing works in a wide range of genres, Reger was also a skilled arranger and editor of the music of others. One of the composers he most admired was Brahms, and in the early years of the 20th century, not long after the latter’s death in 1897, he accepted an invitation from the publisher Simrock to transcribe 14 of Brahms’s songs for solo piano. 

Six years later, shortly before his own death in 1916, he added another 14 to a collection notable for its fidelity to the original music. “These will not be transcriptions embellished with ‘brilliant’ passagework,” said Reger at the time. “In the case of such masterpieces, any embellishment and any attempt to introduce a note of brilliance would be an unheard-of act of vandalism. I mean to adopt a different approach by bringing out the vocal line and, where possible, retaining the original accompaniment in the most faithful way that I can!”

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