Work - Change - Identity: The Mozart- and Beethoven-Variations by Max Reger as Musical Ego-Documents

马克斯·雷格成功而重要的贝多芬变奏曲op.86和莫扎特变奏曲op.132是身份产生的作品，作曲家后来为管弦乐队（op.86）和钢琴（op.132）改编。对他来说，这些改编作品与“原作”具有同等价值--这一观点在1900年前后随着工作的抽象概念的消失而引起了进一步的研究。通过对原始资料--草图、工作手稿、校样等--进行深入的遗传学文本分析，在项目的第一步，重新加工的过程应该是显而易见的。第二步，研究结果应反映在自我文献研究的背景下。这个分析的关键问题是在音乐材料中找到那些揭示其创作者的时刻，这些时刻可以被解读为个人的见证或自我启示，音乐向外界开放其自我反思的连贯性，并赠款我们更深层次的视角。为了保持一致，假设艺术作品是一个连贯的系统，人们必须寻找客观的实例--审美主体本身的断裂、断裂、集合点或投影面可见的那些时刻。如果一个人实现了这个目标，那么这些时刻就可以被解读为主观形状和形式的象征。此外，该项目希望修改对雷格作为一个脆弱的，外国决定的艺术个性的看法。

Max Reger's successful and important Beethoven-Variations op. 86 and Mozart-Variations op. 132 were identity-generating works, which the composer later reworked for orchestra (in case of op. 86) and piano (in case of op. 132). For him, these adaptations were of equal value as the "originals" - a perspective, which in its time around 1900 with a disappearing emphatic concept of work, provokes further investigation. With an intense genetic textual analysis of the sources - sketches, working manuscripts, proofs, etc. - the reworking process should become visible in a first step of the project. In a second step the results should be reflected in context of the ego-documentary research. The key question in this analysis is to locate those moments in the musical material that disclose its creator and can be read as personal testimony or as self-revelatory, the moments where music opens its self-reflective coherence to the outside and grants us a deeper view. To be consistent, assuming that the work of art is a coherent system, one would have to seek objective instances - those moments in which fractures, breaks, assembly-points, or projective surfaces in the aesthetic subject itself (are made) visible. If one accomplishes this aim, these moments can then be read as symbols of subjective shapes and forms. Additionally, the project wants to revise the view on Reger as a fragile, foreign-determined artistic personality.