Composers

Max Reger

Piano
Voice
Organ
Violin
Mixed chorus
Orchestra
Cello
Viola
Alto
Soprano
Song
Lied
Piece
Religious music
Fugue
Sonata
Choruses
Sacred songs
Fantasia
Sacred choruses
by alphabet
3 Suites for Solo Viola, Op.131d12 Stücke, Op.593 Suites for Solo Cello, Op.131cSchlichte Weisen, Op.76Introduction und Passacaglia, WoO IV/630 Kleine Choralvorspiele, Op.135aSerenade, Op.141a2 Clarinet Sonatas, Op.4952 Choralvorspiele, Op.673 Choralfantasien, Op.527 Stücke, Op.145String Trio No.1, Op.77bPräludien und Fugen, Op.117Choralvorspiele, Op.79b4 Sonatas for Solo Violin, Op.422 Choralfantasien, Op.403 Duos, Canons und Fugen im alten Stil, Op.131bClarinet Quintet, Op.146Choralfantasie über "Ein feste Burg ist unser Gott", Op.278 Geistliche Gesänge, Op.138Clarinet Sonata No.3, Op.1072 Geistliche Lieder, Op.105Aus der Jugendzeit, Op.17Romanze, WoO II/107 Sonatas for Solo Violin, Op.91Albumblatt, WoO II/13Monologe, Op.634 Piano Sonatinas, Op.89Variations and Fugue on a Theme by Bach, Op.817 Geistliche Volkslieder, WoO VI/1412 Stücke, Op.80Piano Trio No.1, Op.2Fantasie und Fuge, Op.135b9 Stücke, Op.129String Trio No.2, Op.141bKanons durch alle Dur- und Molltonarten, WoO III/45 Leicht ausführbare Präludien und Fugen, Op.5612 Stücke, Op.65Fantasie und Fuge über B-A-C-H, Op.46Geistliche Gesänge, Op.110Variations and Fugue on a Theme by MozartAus meinem Tagebuch, Op.825 SpezialstudienOrgan Sonata No.2, Op.603 Orgelstücke, Op.7Introduction, Passacaglia and FugueDer evangelische Kirchenchor, WoO VI/172 Gesänge, Op.14412 Geistliche Lieder, Op.137Tarantella, WoO II/1212 Deutsche geistliche Gesänge, WoO VI/13Vier Tondichtungen nach A. BöcklinAllegretto grazioso, WoO II/14Symphonische Fantasie und Fuge, Op.57Choralfantasie über "Freu dich sehr, o meine Seele", Op.302 Geistliche Gesänge, Op.192 Compositions, Op.87Bläserserenade, WoO I/9Organ Sonata No.1, Op.336 Preludes and Fugues, Op.9910 Kleine Vortragsstücke, Op.446 Trios, Op.47Cello Sonata No. 1Variations and Fugue on a Theme by Telemann, Op.1346 Burlesques, Op.588 Improvisations, Op.18Introduction, Passacaglia und Fuge, Op.96Suite, Op.79d6 Klavierstücke, Op.24Fantasie und Fuge, Op.29Träume am Kamin, Op.143Suite, Op.103aSuite No.1, Op.16Variations and Fugue on an Original Theme, Op.735 Aquarelles, Op.25Violin Concerto, Op.101Der 100. PsalmVariations and Fugue on 'God Save the King'Suite No.2, Op.924 Preludes and Fugues, Op.8520 Responsories7 Fantasiestücke, Op.266 Intermezzos, Op.45Cello Sonata No.2, Op.288 Marienlieder, Op.61d4 Spezialstudien, WoO III/133 Sechsstimmige Chöre, Op.39Fughette über das Deutschlandlied, WoO III/24Blätter und Blüten, WoO III/125 Humoresques, Op.20Bunte Blätter, Op.367 Waltzes, Op.11Auserlesene Stücke aus Opern von Richard WagnerSerenade, Op.956 Stücke, Op.94Cello Sonata No.4, Op.116Sinfonietta, Op.905 Neue Kinderlieder, Op.142Violin Sonata No.1, Op.1Piano Concerto, Op.1146 Waltzes, Op.22Romanze, WoO IV/1110 Stücke, Op.693 Gesänge, Op.111bPiano Quartet No.1, Op.113Eine romantische Suite, Op.125Suite im alten Stil, Op.937 Charakterstücke, Op.32Cello Sonata No.3, Op.78Caprice, WoO II/15An die Hoffnung, Op.124String Quartet No.4, Op.109Piano Quartet No.2, Op.1334 KlavierstückePerpetuum mobile, WoO III/19Hymne der Liebe, Op.136Befiehl dem Herrn deine Wege, WoO VII/34Piano Trio No.2, Op.10220 Deutsche Tänze, Op.105 Pièces pittoresques, Op.3418 Lieder, Op.754 Kirchengesänge, WoO VI/202 Romances, Op.50Variations and Fugue on a Theme by Beethoven, Op.86Variations and Fugue on a Theme by HillerPiano Quintet No.2, Op.648 Episodes, Op.1155 Gesänge, Op.375 Gesänge, Op.98O Haupt voll Blut und Wunden, WoO IV/1310 Gesänge, Op.83Violin Sonata No.9, Op.139Kompositionen, Op.79aEine Ballett-Suite, Op.130In der Nacht, WoO III/18Piano Quintet No.1, WoO II/912 Walzercapricen, Op.9Symphonischer Prolog zu einer Tragödie, Op.10812 Kleine Stücke nach eigenen Liedern, Op.103cPräludium und Fuge, WoO IV/15Geistliches Lied, WoO VII/36Konzert im alten Stil, Op.123String Quartet No.1, Op.54 No.16 Gedichte von Anna Ritter, Op.31String Quartet No.5, Op.121Violin Sonata No.4, Op.724 Lieder, Op.97Petite caprice, WoO II/117 Silhouettes, Op.53Violin Sonata No.5, Op.84Vorspiel über "Komm süßer Tod", WoO IV/3Violin Sonata No.2, Op.3String Quartet No.3, Op.74Violin Sonata No.7, Op.103b No.25 Choralkantaten, WoO V/4Lieder von Johannes Brahms für Pianoforte SoloCaprice, WoO III/21Abschiedslied, WoO VI/273 AlbumblätterAltniederländisches Dankgebet, WoO IV/17Scherzo, WoO III/20Nun kommt die Nacht gegangenEine vaterländische Ouvertüre, Op.1406 Trauergesänge, Op.61gViolin Sonata No.6, Op.103b No.1Violin Sonata No.3, Op.41String Sextet, Op.118String Quartet No.2, Op.54 No.2Ewig dein!, WoO III/23Violin Sonata No.8, Op.122Marsch der Stiftsdamen, WoO VIII/169 Ausgewählte Volkslieder, WoO VI/7Eine Lustspielouvertüre, Op.120Weihnachtslied, WoO VII/37Gesang der Verklärten, Op.71Maria, Himmelsfreud!, WoO VI/123 Duets, Op.111a5 Duets, Op.142 Geistliche Lieder, WoO VII/30Die Nonnen, Op.1124 Marienlieder, Op.61eTragt, blaue Träume, WoO VII/313 Chöre, Op.6An Zeppelin, WoO VI/213 Gesänge, Op.111cWiegenlied, WoO VII/426 Lieder, Op.3512 Lieder, Op.6616 Gesänge, Op.627 Männerchöre, Op.3810 Lieder, Op.1515 Lieder, Op.553 Choralbearbeitungen, Op.79g12 Lieder, Op.518 Lieder, Op.43Abendfrieden, WoO VII/40Gloriabuntur, WoO VI/3Am Meer, VII/188 Tantum ergo, Op.61a7 Lieder, Op.486 Lieder, Op.1044 Marienlieder, Op.61fHymne an den Gesang, Op.21Palmsonntagmorgen, WoO VI/1817 Gesänge, Op.7012 Chöre aus dem Volksliederbuch, WoO VI/262 Lieder5 Lieder, Op.12Kompositionen, Op.79cWiegenlied, WoO VII/194 Lieder, Op.23Ostern, WoO VII/324 Tantum ergo, Op.61bLose Blätter, Op.1314 Chorales for 4, 5 or 6 Part Chorus, Op.79fPräludien und Fugen, Op.131a6 Gesänge, Op.684 Gesänge, Op.88Die Weihe der Nacht, Op.119Ich stehe hoch überm See, Op.14b4 Tantum ergo, Op.61cRömischer Triumphgesang, Op.126Schlummerlied, WoO VII/33Trauungslied, WoO VII/34Süße Ruh'Mädchenlied, WoO VII/273 Gedichte von Elsa Asenijeff, WoO VII/44Nachtgeflüster, WoO VII/23Weihegesang, WoO V/6Hoffnungslos, WoO VII/28Geheimnis, WoO VII/26Brautring, WoO VII/24Der Maien ist gestorben, WoO VII/39Serenade, Op.77aIn der Frühe, WoO VII/41Sonnenregen, WoO VII/29Der Dieb, WoO VII/388 Ausgewählte Volkslieder, WoO VI/11Castra vetera, WoO V/1Allegro, WoO II/18Bach TranscriptionsSämtliche Werke10 Jugendlieder2 Schulfugen5 Lieder, Op.85 ScherzkanonsSechs Lieder , Op. 4Andante und Rondo, Op.147Chorfuge, WoO VI/1Dreistimmiger Kanon über 'Letzte Rose', WoO VIII/11Es soll mein Gebet dich tragen, WoO VII/43Grande valse de concert, WoO III/3Improvisation über 'An der schönen blauen Donau', WoO III/11In verschwiegener Nacht, WoO VII/20Kanon über 'Du bist verrückt, mein Kind', WoO VIII/4Lacrimae ChristiLasset uns den Herren preisenOuvertüre, WoO I/2Piano Quintet in C-sharp minorPräludium und Fuge, WoO III/2Requiem, WoO V/9Requiemsatz, Op.145aScherzino, WoO I/6Scherzo, WoO II/1Scherzo, WoO II/6Silvester-KanonenSymphoniesatz, WoO I/3Tantum ergo SacramentumVater unser, WoO VI/22Vierstimmiger Kanon No.1 über 'Letzte Rose', WoO VIII/8Vierstimmiger Kanon No.2 über 'Letzte Rose', WoO VIII/152 Stücke, Op.79ePrelude and Fugue in F-sharp minorGrüße an die Jugend, WoO III/6Sämtliche OrgelwerkeLyrisches Andante, WoO III/7
Wikipedia
Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916), commonly known as Max Reger, was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, as a musical director at the Leipzig University Church, as a professor at the Royal Conservatory in Leipzig, and as a music director at the court of Duke Georg II of Saxe-Meiningen.
Reger first composed mainly Lieder, chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as the popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915).
Born in Brand, Bavaria, Reger studied music theory in Sondershausen, then piano and theory in Wiesbaden. The first compositions to which he assigned opus numbers were chamber music and Lieder. A concert pianist himself, he composed works for both piano and organ. His first work for choir and piano to which he assigned an opus number was Drei Chöre (1892).
Reger returned to his parental home in 1898, where he composed his first work for choir and orchestra, Hymne an den Gesang (Hymn to singing), Op. 21. From 1899, he courted Elsa von Bercken who at first rejected him. He composed many songs such as Sechs Lieder, Op. 35, on love poems by five authors. Reger moved to Munich in September 1901, where he obtained concert offers and where his rapid rise to fame began. During his first Munich season, Reger appeared in ten concerts as an organist, chamber pianist and accompanist. Income from publishers, concerts and private teaching enabled him to marry in 1902. Because his wife Elsa was a divorced Protestant, he was excommunicated from the Catholic Church. He continued to compose without interruption, for example Gesang der Verklärten, Op. 71.
In 1907, Reger was appointed musical director at the Leipzig University Church, a position he held until 1908, and professor at the Royal Conservatory in Leipzig. In 1908 he began to compose Der 100. Psalm (The 100th Psalm), Op. 106, a setting of Psalm 100 for mixed choir and orchestra, for the 350th anniversary of Jena University. Part I was premiered on 31 July that year. Reger completed the composition in 1909, premiered in 1910 simultaneously in both Chemnitz and Breslau.
In 1911 Reger was appointed Hofkapellmeister (music director) at the court of Duke Georg II of Saxe-Meiningen, responsible also for music at the Meiningen Court Theatre. He retained his master class at the Leipzig conservatory. In 1913 he composed four tone poems on paintings by Arnold Böcklin (Vier Tongedichte nach Arnold Böcklin), including Die Toteninsel (Isle of the Dead), as his Op. 128.
He gave up the court position in 1914 for health reasons. In response to World War I, he thought in 1914 already to compose a choral work to commemorate the fallen of the war. He began to set the Latin Requiem but abandoned the work as a fragment. He composed eight motets forming Acht geistliche Gesänge für gemischten Chor (Eight Sacred Songs), Op. 138, as a master of "new simplicity".
In 1915 he moved to Jena, commuting once a week to teach in Leipzig. He composed in Jena the Hebbel Requiem for soloist, choir and orchestra. Reger died of a heart attack while staying at a hotel in Leipzig on 11 May 1916. The proofs of Acht geistliche Gesänge, including "Der Mensch lebt und bestehet nur eine kleine Zeit", were found next to his bed.
Reger had also been active internationally as a conductor and pianist. Among his students were Joseph Haas, Sándor Jemnitz, Jaroslav Kvapil, Ruben Liljefors, Rudolf Serkin, George Szell and Cristòfor Taltabull.
Reger was the cousin of Hans von Koessler.
Reger produced an enormous output in just over 25 years, nearly always in abstract forms. His work was well known in Germany during his lifetime. Many of his works are fugues or in variation form, including the Variations and Fugue on a Theme by Mozart based on the opening theme of Mozart's Piano Sonata in A major, K. 331.
Reger wrote a large amount of music for organ, the most popular being the Benedictus from the collection Op. 59 and his Fantasy and Fugue on BACH, Op. 46. While a student under Hugo Riemann in Wiesbaden, Reger met the German organist, Karl Straube; they became friends and Straube premiered many of Reger's organ works, such as the Three chorale fantasias, Op. 52. Reger recorded some of his works on the Welte Philharmonic organ, including excerpt from 52 Chorale Preludes, Op. 67. He composed organ works for secular use, such as Introduction, Passacaglia and Fugue, Op. 127, dedicated to Karl Straube who played the premiere during the 1913 opening of the Breslau Centennial Hall, when the Sauer organ [de] was inaugurated.
Reger was particularly attracted to the fugal form and created music in almost every genre, save for opera and the symphony (he did, however, compose a Sinfonietta, his op. 90). A similarly firm supporter of absolute music, he saw himself as being part of the tradition of Beethoven and Brahms. His work often combined the classical structures of these composers with the extended harmonies of Liszt and Wagner, to which he added the complex counterpoint of Bach. Reger's organ music, though also influenced by Liszt, was provoked by that tradition.
Some of the works for solo string instruments turn up often on recordings, though less regularly in recitals. His solo piano and two-piano music places him as a successor to Brahms in the central German tradition. He pursued intensively Brahms's continuous development and free modulation, whilst being rooted in Bach-influenced polyphony.
Reger was a prolific writer of vocal works, Lieder, works for mixed chorus, men's chorus and female chorus, and extended choral works with orchestra such as Der 100. Psalm and Requiem, a setting of a poem by Friedrich Hebbel, which Reger dedicated to the soldiers of World War I. He composed music to texts by poets such as Gabriele D'Annunzio, Otto Julius Bierbaum, Adelbert von Chamisso, Joseph von Eichendorff, Emanuel Geibel, Friedrich Hebbel, Nikolaus Lenau, Detlev von Liliencron, Friedrich Rückert and Ludwig Uhland. Reger assigned opus numbers to major works himself.
His works could be considered retrospective as they followed classical and baroque compositional techniques such as fugue and continuo. The influence of the latter can be heard in his chamber works which are deeply reflective and unconventional.
In 1898 Caesar Hochstetter, an arranger, composer and critic, published an article entitled "Noch einmal Max Reger" in a music magazine (Die redenden Künste 5 no. 49, pp. 943 f). Caesar recommended Reger as "a highly talented young composer" to the publishers. Reger thanked Hochstetter with the dedications of his piano pieces Aquarellen, Op. 25, and Cinq Pièces pittoresques, Op. 34.
Reger had an acrimonious relationship with Rudolf Louis, the music critic of the Münchener Neueste Nachrichten, who usually had negative opinions of his compositions. After the first performance of the Sinfonietta in A major, Op. 90, on 2 February 1906, Louis wrote a typically negative review on 7 February. Reger wrote back to him: "Ich sitze in dem kleinsten Zimmer in meinem Hause. Ich habe Ihre Kritik vor mir. Im nächsten Augenblick wird sie hinter mir sein!" ("I am sitting in the smallest room of my house. I have your review before me. In a moment it will be behind me!"). Another source has the German composer Sigfrid Karg-Elert as the targeted critic of this letter.
Arnold Schoenberg was an admirer of Reger's: A letter he sent to Alexander von Zemlinsky in 1922 states: “Reger...must in my view be done often; 1, because he has written a lot; 2, because he is already dead and people are still not clear about him. (I consider him a genius.)”
The documentary Max Reger – Music as a perpetual state, by Andreas Pichler and Ewald Kontschieder, Miramonte Film, was released in 2002. It was the first factually based film documentation about Max Reger. It was produced in cooperation with the Max-Reger-Institute.
Max Reger: The Last Giant, a documentary film about the life and works of Max Reger, was released on 6 DVDs around December 2016 to mark the 100th anniversary of Reger's death. It is produced by Fugue State Films and includes excerpts from Reger's most important works for orchestra, piano, chamber ensemble and organ, with performances by Frauke May, Bernhard Haas, Bernhard Buttmann and the Brandenburgisches Staatsorchester Frankfurt.
"1913". Max-Reger-Institute. 2016.