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Er bietet auch dem Organisten vielfältige Anregungen, u. a. sein Reger- und Karg-Elert-Repertoire zu erweitern und sich mit den subtil-expressiven Klangwelten des Harmoniums in eigener Spielpraxis auf diesem kammermusikalischen Instrument zu beschäftigen."}],"markDefs":[],"style":"normal"},{"_key":"231fb67ca252","_type":"block","children":[{"_key":"c8417f804b05","_type":"span","marks":[],"text":"\nDas seinerzeit beliebte Instrument nutzte Max Reger bereits seit seinen frühen Weidener Jahren und schätzte dessen Möglichkeiten als Basis-Medium in der Phase seiner Choralfantasien ab 1898. Auf dem originalen Hausinstrument der Reger-Familie erklingen hier 12 ausgewählte Lieder (1903) aus diversen Opera Max Regers (op. 31–62) in der Bearbeitung seines Lehrer-Vaters Josef sowie Max’ Sammlung Ausgewählte Stücke klassischer und moderner Meister, für Harmonium bearbeitet (ca. 1898/99). Lars David Kellner bietet dazu Ersteinspielungen von Orgelstücken in Regers Einrichtung für Harmonium: Fughette a-Moll WoO IV/18, „Invocation“, 2. Satz aus der d-Moll-Sonate op. 60 sowie das berühmte Benedictus op. 59/9 (...). Eine große Überraschung sind – ebenfalls als Ersteinspielung – die Dreißig kleinen Choralvorspiele op. 135a, die in methodischer Hinsicht den intimen Mikrokosmos Regerscher Klangkultur quasi propädeutisch offenlegen: eine bewegende Hausandacht mit Reger auf dem Harmonium!"}],"markDefs":[],"style":"normal"},{"_key":"c205b06e79b4","_type":"block","children":[{"_key":"c7ab4c17dde8","_type":"span","marks":[],"text":"\nSo muss es auch bei Sigfrid Karg-Elert gewesen sein, als er im Leipziger Rundfunk die Morgenandachten aus seiner Wohnung live gespielt hat. Der Komponist hat einen bedeutenden Teil seiner Werke für das (Druckwind-) Kunstharmonium geschrieben, das mit seiner Ausdrucksvielfalt und reichen Registerpalette seinem Klangideal am nächsten kam. Dennoch fand auch weiterhin das populärere Saugwindharmonium ohne Nachlassen der kompositorischen Ansprüche Verwendung. In den Impressionen op. 102 entfalten sich orchestrale Klangwirkungen besonders plastisch, etwa in „Fernsicht vor dem Regen“ oder in „Farben der Frühe“. Die Vox humana verleiht den Stücken ein warmes, vokales Timbre und kann zugleich hochliegenden Ostinati eine schwebende Leichtigkeit geben. Der Zyklus Romantische Stücke op. 103 stellt hohe Anforderungen an die Disposition des Instruments, so an (…) unterschiedliche 16’-Stimmen im Diskant und insbesondere an das Waldhorn-Register, das in „Waldwanderung“, „Einsamer First“ oder „Romantisches Tal“ farbintensiv eingesetzt wird. In den formal und inhaltlich an die Opera 102 und 103 anknüpfenden Idyllen op. 104 zeigt sich einmal mehr der musikalische Impressionist Karg-Elert: „Sommerfäden“ oder „Wolken über See“ arbeiten mit flächigen Klanggrundlagen und ausgeprägter Chromatisierung, wodurch statische Atmosphären und feine Farbnuancen entstehen."}],"markDefs":[],"style":"normal"},{"_key":"00b357e50caa","_type":"block","children":[{"_key":"a0c7bdef866d","_type":"span","marks":[],"text":"\nLars David Kellner eröffnet mit seinem feinsinnig ausgeloteten Spiel alle klangspezifischen Möglichkeiten und trägt einmal mehr zur vorteilhaften künstlerischen Ehrenrettung des oft verkannten Instruments bei. "}],"markDefs":[],"style":"normal"}],"en":[{"_key":"2154d6d75eab","_type":"block","children":[{"_key":"c51201e06183","_type":"span","marks":[],"text":"With his CD series on the tastenReich label, harmonium artist Lars David Kellner enriches more than just the community of harmonium enthusiasts. He is also offering organists a wealth of inspiration, including the opportunity to expand their repertoire of works by Reger and Karg-Elert and to engage with the subtle, expressive soundscapes of the harmonium in their own performance practice on this chamber music instrument."}],"markDefs":[],"style":"normal"},{"_key":"737812af6ebe","_type":"block","children":[{"_key":"c1cda33bf4ff0","_type":"span","marks":[],"text":"Max Reger had been using this instrument, which was popular in its day, since his early years in Weiden and appreciated its potential as a primary medium during the phase of his chorale fantasies beginning in 1898. Performed on the Reger family’s original harmonium, this recording features 12 selected songs (1903) from various operas by Max Reger (Op. 31–62) in arrangements by his father and teacher, Josef, as well as pieces from Max’s collection *Selected Works by Classical and Modern Masters, Arranged for Harmonium* (ca. 1898/99). Lars David Kellner also presents world premiere recordings of organ pieces in Reger’s arrangement for harmonium: Fughette in A minor WoO IV/18, “Invocation”, the 2nd movement from the Sonata in D minor, Op. 60, and the famous Benedictus, Op. 59/9 (...). A major surprise—also recorded for the first time—are the Thirty Little Chorale Preludes, Op. 135a, which, from a methodological perspective, reveal the intimate microcosm of Reger’s musical culture in a quasi-introductory manner: a moving private devotional with Reger on the harmonium!"}],"markDefs":[],"style":"normal"},{"_key":"5aa664091e2f","_type":"block","children":[{"_key":"d19bc85e81030","_type":"span","marks":[],"text":"This must have been the case for Sigfrid Karg-Elert as well, when he performed the “Morning Devotions” live from his apartment for Leipzig Radio. The composer wrote a significant portion of his works for the (pressure wind) art harmonium, which, with its expressive versatility and rich range of registers, came closest to his ideal sound. Nevertheless, the more popular suction wind harmonium continued to be used without compromising compositional standards. In the Impressions, Op. 102, orchestral sound effects unfold with particular vividness, for example in “Fernsicht vor dem Regen” or in “Farben der Frühe.” The Vox humana lends the pieces a warm, vocal timbre and can simultaneously impart a floating lightness to high-pitched ostinatos. The cycle Romantic Pieces, Op. 103, places high demands on the instrument’s disposition, such as on (…) various 16’ stops in the treble and, in particular, on the French horn register, which is used with intense color in “Waldwanderung,” “Einsamer First,” or “Romantisches Tal.” In the Idylls, Op. 104, which build on Operas 102 and 103 in both form and content, the musical impressionist Karg-Elert reveals himself once again: “Sommerfäden” or “Wolken über See” work with expansive sound textures and pronounced chromaticism, creating static atmospheres and subtle tonal nuances."}],"markDefs":[],"style":"normal"},{"_key":"1cbf64648534","_type":"block","children":[{"_key":"2b8afed3d9d10","_type":"span","marks":[],"text":"With his delicately nuanced playing, Lars David Kellner explores every tonal possibility and once again helps restore the artistic reputation of this often-misunderstood instrument."}],"markDefs":[],"style":"normal"},{"_key":"a743ac32ad19","_type":"block","children":[{"_key":"def8ac69ed740","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"}]},"source":"organ (1/2026)","slug":{"current":"2026-04-sigfrid-karg-elert-das-saugwindharmonium"}}]}},"pageContext":{"slug":"/recordings/2025-11-s-karg-elert-das-saugwind-kunstharmonium-lars-david-kellner","id":"-c4793189-e8d3-5c24-b1b5-1daa6de094e2","locale":"de","defaultLangKey":"de"}},"staticQueryHashes":["1335453790","1932762529","2561128453","3407774749","4021449342","4051793772"]}