Max Reger (1873-1916), a typical composer of the late period of German Romanticism, he was regarded by his contemporaries as being a revolutionary and a representative of the extreme avant-garde. Reger familiarize himself with traditional forms and compositional techniques, especially, music arrangement compose is a major part in his short career. As a representative composer of post-romanticism, Reger had a civilizing influenced by Bach in the area of the use forms and counterpoint. About 150 Bach arrangements credited to Reger, most of them are instrumental works, moreover the majority of these instrumental works are combined with feature organ, piano, and orchestral music.The Brandenburg concerto No.2 which was composed by Bach in 1721 with the arranged work of the piano-music for duet by Reger between 1906. Reger’s arrangements which arranged from Bach did not change the structure of Bach’s, however, Reger made them more creative. For example, the work of Reger, the contrapuntal movements did not lend themselves so easily to simplification owing to their tightly woven fabric of independent, sometimes intertwined voices. Here the arrangements primarily with regard to the orchestral part, the solo parts were left unchanged insofar as this was possible. The playing instructions serve the purpose of clearly distinguishing the tutti of the orchestra from the concertino of the solo parts and a clear elaboration of the motifs and themes. Reger demonstrated unusually great moderation in dynamics and phrasing.Reger's musical style made a great contribution to piano music, and his style of playing is eminently suitable for Bach. Reger's arrangement result to further impact on people. Furthermore, he also made Bach's Brandenburg Concerto No.2 of great worth.
본 논문은 막스 레거(Max Reger 1873~1916)의 바흐 작품 편곡에 대한 일반적인 특징과 그의 작품을 편곡한 곡들에 대한 살펴본 후, 레거가 1905~6년에 편곡한 네 손을 위한 피아노 편곡작품 『브란덴부르크 협주곡 No.2』 분석하였다.레거의 편곡 기법에는 두 가지 작업 방식이 나타나는데, 하나는 작품 구조를 변화시키는 것이고 다른 하나는 자신의 창조적인 영향을 발휘하여 편곡하는 것을 말한다. 레거의 편곡 작품 『브란덴부르크 협주곡 No.2』에서는 바흐의 음악을 네 손을 위한 피아노 작품으로 편곡함으로써 그 편곡 기법이 잘 나타난다.본 논문에서는 레거가 활동했던 후기 낭만시대 전후의 음악 양상과 그의 생애를 다루면서 레거 음악의 일반적 경향, 레거의 바흐 작품 편곡에 관한 배경과 음악특징 등을 알아보고, 레거가 편곡한 『브란덴부르크 협주곡 No.2』의 3악장의 구조와 음악적 특징을 고찰함으로써 전체적인 형식, 선율, 리듬, 화성, 구조 등의 요소들을 분석하였다. 레거는 작품구조를 명백하게 드러내기 위해 주제의 강조 및 개별적인 음표에 역동적인(dynamic) 뉘앙스를 뚜렷하게 나타냈다.