Max Reger’s “Improvisationen, Op. 18, No. 1 and “No. 2, for piano: Two Transcription Suggestions for Organ

Max Reger’s (March 19, 1873 – May 11, 1916) “Improvisation, Op. 18, No. 1 Allegretto con Grazia” and “No. 2, Andantino Con Expression” for piano are two short pieces that can be easily transcribed for use as organ pieces for church or recital. For organists who regularly teach piano, these pieces can be embedded into a piano curriculum designed to plant the seeds to inspire young piano students to pursue future organ study. This article suggests a few strategies for transcribing the pieces as well as using them as material to teach students elements of that transcription process.
In the case of both these pieces, I suggest first memorizing them on the piano, emphasizing the pianistic elements including pedaling, legato playing, voice leading, and expression. It is useful to approach these pieces purely as the piano pieces Reger wrote them to be, rather than considering anything organistic about them at this stage. Once the pieces are brought to the organ, it is useful to conceive the pedal lines as a duplications of the left hand piano bass lines rather then replacements for them. In other words, for ease of learning, include the left hand even on the organ, simply adding the pedal line below. When using these for teaching, I encourage teachers not to use these pieces until the student has spent at least one year with a good method book such as the Flor Peeters “Little Organ Book.”
The first movement can be used to teach many important technical and musical elements of organ playing while also providing a study in organ transcription. For example, the alto voice in the “Allegretto con Grazia” can be brought out on the organ with distinct articulation patterns. This leads students to develop finger independence and to understand the distinction between piano and organ in approaches to expression.
The second movement provides students with perspectives on the difference between voice leading on the piano and solo voice registration on the organ. The very beautiful romantic melody that opens this movement when treated on the piano, gives the opportunity for the development of legato playing and expression. On the organ, however, a very different approach is required as students learn to select a registration for a solo voice—perhaps a cornet or English horn- and gain insights into controlling and being expressive with a sumptuous 19th-century melody with accompaniment.
For piano students intent on organ study, it is useful to have a base of piano repertory that can also be played on the organ. This is true for those who may be starting some early church service playing and even those who might be beginning to perform on organ and piano recitals. But also for seasoned organists, these pieces are useful for church and recital both on piano or organ.
Historical musicological dimensions to both composer and composition are important to consider. Students may find it interesting, for example, to learn Reger’s full name is Johann Baptist Joseph Maximillian Reger and that he was a German composer, organist, pianist and teacher. Also, the many aspects of Reger’s fiery, strong-willed personality situated within the cultural context of the time may both inspire and intrigue the young beginning organist.


References
Reger, Max (1873-1916). Improvisationen für Klavier, Op. 18. Mainz: Schott Musik International, 1910.

Photo Sources
Faulkner, Anne S. What We Hear in Music. Victor Talking Machine Co., 1913
http://upload.wikimedia.org/wikipedia/en/8/89/Max_reger.jpg