A study of Max Reger's treatment of sonata form in the sonatas for piano and violin




Wilson, Leslie Lucille Milliren, 1945-

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Since any formal analysis must show how the composer achieves unity, coherence, and continuity, the method used by the writer is what seems to work best in this respect for Reger--a descriptive analysis that shows what is happening as it happens, and how the form is made clear to the listener. For this purpose, the choice made was the first movement of Op. 122 because it, among the movements in question, is the least traditional regarding the handling of sonata form. An understanding of Reger's treatment of the form here will make possible a retrospective study, as it were, of the movements more closely resembling a typical sonata form movement. For purposes of comparison, only the first movements of Opp. 41, 72, 84, and 139, and the fourth movement of Op. 72 will be considered. The first two sonatas, Opp. 1 and 3, are essentially student works, published at the insistence of Reger's teacher. The two numbers of Op. 103b are small works, more in the nature of sonatinas. These four sonatas will therefore be omitted from the present study.