Reger's counterpoint and GG's trilogy

[aq094@lafn.org (Eugene Selig)]

In Mary Jo's posting she referred to GG's comment that "his counterpoint 
in the radio trilogy was close to Reger's counterpoint." I was so 
fascinated by this that I looked through my own considerable personal 
music library (how else to research this on a Sat. night?), and found a 
reference that might make the connection. In the book "Fugue-History and 
Practice" (I. Horsley), the author says "Composers (like) Max Reger used 
the elements of dynamics, tone-color, and variations in tempo to 
emphasize the formal divisions of his fugues."
Thus, in the context of spoken words used "thematically," GG replaces the 
traditional episodic transitions found in the manipulation of fugue 
subjects with the devices just described. 
The famous recording celebrating GG's Silver Anniversary deals with the 
Trilogy. GG, speaking the voices of all characters as well as his own, 
describes the mixing of the voices in the Trilogy as "true polyphony."
He also indulges in some good-natured self-deprecation concerning this
approach to creativity, not always comprehended by many of his listeners.
By the way, Reger is given short shrift in any books that mention him at 
all, and Grove's calls his work "over-abundant." His works, deservedly 
neglected (my words), are overly long and even turgid; however, he did 
contribute to the break-down of tonality, with his jarring chromaticism 
and "shocking" modulations.