Reger, Max (EN)

Reger Johann Baptist Joseph Max, actually Johann Baptist Joseph Maximilian Reger, *19 March 1873 Brand (neat Kemnath, Upper Palatinate), †11 May 1916 Leipzig, German composer, pianist, organist and conductor. He was the oldest son of Joseph Reger, a teacher at a folk school, and Katharina Philomena née Reichenberger. In 1874, the Regers moved to Weiden, where his father took up a job as a music and mathematics teacher at a preparatory school for teachers. Both parents were amateur musicians; at the age of five, Reger began learning to play the piano with his mother and violin and cello with his father. In 1886–89, he attended Präparandenschule in Weiden. He started a systematic music education under his later biographer, an organist A. Lindner (1884–89), who taught him to play the piano and organ as well as the history and theory of music. During the festival in Bayreuth in 1888, Reger saw Parsifal and Die Meistersinger von Nürnberg by Wagner; it was the first time he had ever listened to a symphonic orchestra, and he decided, despite his father’s objection, devote himself to music. Already in the autumn of that year, Reger wrote Overture in B minor, which Lindner secretly sent to Hugo Riemann and asked for his opinion. In 1889, Reger was accepted to the teacher’s college in Amberg; however, in 1890, he started counterpoint and organ studied under Riemann, initially at the Sondershausen Conservatory, from September in Wiesbaden. From 1891, as a piano and music theory student, he taught piano and organ playing at the conservatory, and from 1895, after Reimann moved to Leipzig, he also gave lectures on the theory of music. Thanks to Reimann’s mediation, Reger signed a contract with a London publisher G. Augener, for whom he worked in 1892–98 and prepared a number of transcriptions and piano reductions of works by various composers. In February 1894 in Berlin, Reger’s first performance as a piano accompanist and composer took place. From November 1896, Reger did military service in Wiesbaden, which caused deep depression, alcoholism and financial struggles. In June 1898, he came back to his parent’s house in Weiden, where he regained his health and started composing again, mainly for organ. This time marks the beginning of Reger’s acquaintance with K. Straub, who premiered many of his organ works, starting with Suite in E minor Op. 16. In September 1901, Reger, together with his parents and sister Emma, moved to Munich and started working as a pianist, performing, among others, with a violinist H. Marteau, singer J. Loritz and also as an improvising organist. In October 1902, Reger married Elsa von Bercken née Bagenski. At the end of 1903, his work Beiträge zur Modulationslehre was published, which contained 100 examples of rather schematic modulations, often using the Neapolitan chord, omitting enharmonic modulations. In the introduction, Reger stated that this work was based on his 12-year practice as a theory teacher and is not a presentation of compositional attempts, limited to a dry demonstration of rules. He responded to critical reviews in the Neue Zeitschrift für Musik in polemical articles: Ich bitte ums Wort and Mehr Licht!. From 1905, Reger was a lecturer at the Akademie der Tonkunst in Munich, where he taught counterpoint, organ and composition. At the same time, in 1905–06, he directed the Porgesscher Chorverein, which gave him the opportunity to make his debut as a conductor and aroused his interest in choral music. His first fully completed symphonic work from this period, the Sinfonietta in A major, Op. 90, was criticised for its instrumentation and overly congested sound form. The negative attitude of the critics, the related nervous tension, and the excess of work, travel and concerts caused another health crisis for Reger in 1906. He officially wrote about “paralysis of the right hand,” but the reviews mentioned the return of alcoholism. Reger’s concert trip to St. Petersburg in December 1906 was successful; he presented his works, among others: Sonata in F sharp minor for violin and piano Op. 84, Variations and Fugue on a Theme by Beethoven Op. 86, Suite im alten Stil Op. 93 and Introduction, Passacaglia and Fugue in B minor Op. 96. The year 1907 began with a series of 30 concerts in several European cities, including Vienna, Amsterdam, Antwerp and Basel. In February of that year, Reger was appointed music director of the University of Leipzig and also took over the composition class at the local conservatory. Despite the more favourable atmosphere than in Munich and the presence of many friendly artists, he resigned from his position at the university after a year but retained his position at the conservatory until the end of his life. In July 1908, the Philosophy Department of the University of Jena awarded him an honorary doctorate; on this occasion, Reger composed Psalm 100 Op. 106, the first part of which was performed during the ceremony. He received another honorary doctorate in 1912 from the Medical Department of the University of Berlin; at that time, Römischer Triumphgesang was composed, an example of, in Reger’s own words, “healthy” music. Reger’s significant position is also evidenced by the fact that in May 1910 – for the first time for a living composer – the three-day Reger-Fest was organised in Dortmund. In 1911, Reger took up the position of Kapellmeister of the court orchestra in Meiningen. Enjoying the support of George II, Duke of Saxe-Meiningen, Reger began to implement ambitious repertoire plans, conducting works by Debussy, Berlioz, Grieg, Wolf, and R. Strauss, among others. Under his direction, the orchestra’s level rose and, thanks to numerous tours, it regained its fame. The following years, filled with a rich concert life (including 106 concerts in the 1912/13 season), were also the apogee in the field of creativity, especially symphonic, but excessive work and tension, relapses into alcoholism and conflicts with the court camarilla in Meiningen brought another breakdown. In February 1914, during the orchestra’s tour, some performances were cancelled, and Reger went to a sanatorium for treatment; he soon submitted an application for resignation. This coincided with the death of George II in June 1914 and the dissolution of the orchestra. Compositions from this period included the Variations and Fugue on a Theme by W.A. Mozart Op. 132, dedicated to the Meiningen Hofkapelle “as a memento.” The outbreak of the war caused in Reger – as in many of his contemporaries – an outpouring of patriotic feeling, as evidenced by Vatterländische Ouvertüre with the final chorale Nun danket alle Gott. In October 1914, the composer resumed teaching in Leipzig, and in March 1915, he moved to Jena. During another concert tour, Reger died of a heart attack in Leipzig on 11 May 1916. In 1930, his ashes were transferred to Munich. Reger published his compositions with various German publishing houses: J. Aibl (Munich and Leipzig), Lauterbach & Kuhn (Leipzig), Bote & Bock (Berlin), C.F. Peters (Leipzig), N. Simrock (Berlin and Leipzig), and G. Augener (London).

The subsequent stages of Reger’s life and professional activity mark the main caesuras in his work, which are not always associated with a radical change of style. The first stage is characterised by a newly acquired technical proficiency with academic features – the composer himself later denied his early works (Op. 1–20) any greater value. The “Weiden period” (1898–1901) brought a gradual liberation from the influence of Riemann and his theory of the functional system and from the domination of Brahms. At that time, organ works of monumental size, powerful texture and virtuoso sweep were created, which, at the same time, expressed an interest in Protestant chorale (chorale fantasias). Gradually thickening texture, massiveness of the performance apparatus, intensification of chromaticism and accumulation of dynamic means characterise the next phase – the “Munich period,” 1901–07. Here we observe an evolution from the “overly developed” Gesang der Verklärten Op. 71 to the monumental Psalm 100. Despite the failure of Sinfonietta Op. 90, Reger did not give up writing for the orchestra and the Variations and Fugue on a Theme by J.A. Hiller would become the determinant of another breakthrough in his compositional technique. At the same time, the creative maturity achieved in Munich also allowed the composer to reduce his means, directing him towards “Mozartian purity,” the first harbinger of which is the Sonata in C major for violin and piano Op. 72. The themes of the first movement of this sonata, built on the sounds A FF E (monkey) and (E)-flat C B A F E (rams), are an expression of Reger’s veiled reaction to the attitude of the Munich environment, accustomed to the aesthetics of the neo-romantic New German School, continuing the line of Wagner and Liszt. Reger’s main opponents, R. Louis, L. Thuille and M. von Schillings, criticised his complicated counterpoint and rough harmony, as well as the lack of poetic and programmatic references, accusing him of a “cult of ugliness” and a lack of “necessary content” (from Louis’s review in “Münchner Neueste Nachrichten” of 23 June 1903). The pursuit of Mozartian transparency is also demonstrated in Reger’s later works, e.g. Serenade in D major Op. 77a and G major Op. 141a, and Eine Lustspielouvertüre Op. 120. The noticeable parallelism of the tendency towards monumentalism on the one hand and simplicity on the other, as well as the temporal parallelism of great works and “insignificant,” occasional opuses, is, according to R. Cadenbach, a manifestation of ambivalence, which makes it difficult to clearly mark out stylistic and technical caesuras in Reger’s output. (Max Reger und seine Zeit). The years in Leipzig (1907–11) are considered to be the culmination point in the development of Reger’s work by many biographers. It was then that he wrote his greatest works (Op. 100–118), and that his orchestral music developed, growing out of the composer’s experience in chamber music; Reger reached the apogee of his formal mastery, especially in the fugue (the double fugues in the Variations and Fugue on a Theme by J.A. Hiller Op. 100, and the Variations and Fugue on a Theme by W.A. Mozart Op. 132) and sonata form. The “Meiningen period” (1911–14) saw the perfecting of his technique of composing for orchestra; three most important works reveal Reger’s wide creative possibilities: Konzert im alten Stil Op. 123, which refers to the style of Handel’s concerti grossi, Romantische Suite Op. 125 – to the idea of ​​a great symphony, and Vier Tondichtungen nach A. Böcklin Op. 128, in which the elements of sound painting, characteristic of the Romantics, were enriched with accents of Debussy’s impressionistic colouring. In the last two years of his life (“der freie Jenaische Stil”) Reger achieved the fullness of his inner expression. This is evidenced, on the one hand, by the religious confession of faith in opuses 137, 138 and 144b, and on the other hand, by the crystalline linearity of the suites for cello and solo viola (Op. 131c and d) and Serenade in G major Op. 141a, the mood of intimacy close to Brahms in the last violin sonata Op. 139 and String Trio in D minor Op. 141b. Initially, Reger was mainly influenced by the music of J.S. Bach (he was considered the greatest German composer of organ music after Bach), Beethoven (violin sonatas, string quartets), Mendelssohn, Schumann (songs, piano music) and Liszt (organ fantasies), but the strongest influence was that of Brahms. This was first revealed in the adoption of his classicising attitude, textural solutions and harmonic language. In the early Piano Quintet in C minor (1898), the symbolic arrangement of notes B-flat A B E-flat appears in all four movements. After a period of distancing himself from Brahms’s influence (Munich, Leipzig), in his later works, features common to the art of Reger and Brahms come to the fore: a strong attachment to genre canons, the way of building themes, the type of piano figurations and, above all, the type of expression of slow movements in chamber works. Among the determinants of Reger’s individual style, harmony undoubtedly comes to the fore, based generally on a functional system, but, at the same time, strongly chromaticised. The composer’s concept of “harmonic melody” refers to the enrichment of late Romantic harmony with chromaticism in the inner voices, rapid combinations of tonally distant chords, constant rise and fall of dynamics and constant fluctuation of tensions (avoiding cadences). Its essence is the frequent change of key through modulation using various forms of alternation, enharmonic changes of sounds, etc. Phrases from modal scales and successions of consonant chords usually appear in specific contexts: as an archaism or a humorous effect. The intensification of the tendency to chromatism is particularly characteristic of the Weiden and Munich periods (e.g. the accumulation of dissonances and 11-note themes of the double fugue in the Symphonic Fantasy and Fugue in D minor Op. 57). The second original feature of Reger’s compositional style is the counterpoint based on harmonic thinking. The linearity of texture was most perfectly revealed in his chamber and organ works, in the frequent use of fugue and passacaglia forms, but in his strongly historically determined formal thinking, the sonata dominates. Numerous realisations of the sonata cycle, especially in chamber music, reveal the presence of a constant structural pattern with a strongly outlined first part (sonata form) and a motivic-thematic correspondence between the outer parts; the second part is usually a scherzo, the third part, slow, emotional centre, often has a quasi-religious character, and the last part (rondo or fugue, less often variations) sometimes has a grotesque tinge. The greatest importance is generally attributed to Reger’s chamber music, showing a constant development of style, while symphonic and piano pieces are underestimated. Organ music remains in constant concert circulation. It is characterised by a wealth of textural arrangements, a symphonic sweep of sound – for example, it is wrongly believed that this is the influence of orchestral thinking, because most of Reger’s great organ works were written long before Sinfonietta Op. 90, extreme agogic and dynamic contrasts (Op. 57, 135b), iron logic of tension development in passacaglias and fugues (as in the monumental Op. 127, composed in 1913 for the inauguration of the great Sauer organ in the Jahrhunderthalle in Wrocław), which are unmatched. The violent “wildness” of expression in the accumulation of chords (introductions) and mystical slow phases make Reger a leading representative of expressionism in the field of organ music. He had a significant influence on the work of his students, including J. Haas, J. Weinberger, O. Schoeck, H. Unger, H. Grabner, F. Lubrich and others. Evidence of reflection on his technique and aesthetics is also provided by the works of Berg, Hindemith, F. Schmidt, Schönberg and the young Szymanowski.

Literature:

Documentation – W. Altmann Reger-Katalog. Vollständiges Verzeichnis sämtlicher im Druck erschienenen Werke, Bearbeitungen und Ausgaben Max Regers, Berlin 1917, 1926, reprint Niederwalluf near Wiesbaden 1971; F. Stein Thematisches Verzeichnis der im Druck erschienenen Werke von Max Reger, Leipzig 1953; S. Popp Reger Werkverzeichnis, Munich 2011; P. Krause Das Max Reger-Schrifttum 1945–1965. Bibliographie, in: Max Reger Beiträge zur Reger-Forschung, Meiningen 1966; H. Rösner Max-Reger.- Bibliographie (1893–1966), Bonn 1968; Max Reger in seinen Konzerten, Bonn 1981, part 1: O. Schreiber Reger konzertiert, part 2: Programme der Konzerte Regers, ed. I. Schreiber, part 3: Rezensionen, ed. O. Schreiber and I. Schreiber; S. Shigihara Max-Reger-Bibliographie (…) von 1967 bis 1981, Bonn 1983; WE. Grim Max Reger. A Bio-Bibliography, New York 1988; R. Cadenbach Max Reger Skizzen und Entwürfe, Wiesbaden 1988; Max Reger CDisko- graphie und Verzeichnis lieferbarer Noten, ed. S. Twiehaus and N. Kämpken, Wiesbaden 1999. F. Stein Max Reger 1873–1916. Sein Leben in Bildern, Leipzig 1941; E. Mueller von Asow Max Reger und seine Welt, Berlin 1944; H. Wirth Max Reger in Selbstzeugnissen und Bilddokumenten dargestellt, Reinbek near Hamburg 1973; Max Reger Am Wendepunkt zur Moderne, album containing documents from Max-Reger-Institut, ed. S. Popp and S. Shigihara, Bonn 1987; Immer Reger. Geschichte und Aufgaben des Max-Reger-Instituts, Karlsruhe 2007; Max Reger Brevier, ed. A. Spemann, Stuttgart 1923; Max Reger Briefe eines deutschen Meisters, ed. E. von Hase-Koehler, Leipzig 1928, 1938; Neues Max-Reger-Brevier, ed. H. Unger, Basel 1948; Max Reger Briefe zwischen der Arbeit and Max Reger Briefe zwischen der Arbeit. Neue Folge, ed. O. Schreiber, Bonn 1956 and 1973; Max Reger Briefe an Fritz Stein and Max Reger Briefe an Karl Straube, ed. S. Popp, Bonn 1982 and 1986; Max Reger Briefe an die Verleger Lauterbach & Kuhn, part 1, ed. S. Popp, part 2, ed. H. Müller, Wiesbaden 1993, 1998; Max Reger Briefwechsel mit dem Verlag C.F. Peters, ed. S. Popp and S. Shigihara, Wiesbaden 1995; Der junge Reger Briefe und Dokumente vor 1900, ed. S. Popp, Wiesbaden 2000; Selected Writings of Max Reger, ed. and transl. Ch. Anderson, Oxfordshire 2006; R Eucken Persönliche Erinnerungen an Max Reger Bielefeld 1916; E. Reger Mein Leben mit und für Max Reger, Leipzig 1930; R. Braungart Freund Reger Erinnerungen, Regensburg 1949; Festschrift für Elsa Reger…, Bonn 1950 (contains memories of H. Grabner, H. Unger, letters to H. Schelle and W. Obermeyer).

Magazines, special issues – “Mit- teilungen der Max-RegerGesellschaft”, Stuttgart and Leipzig 1921-41, 17 issues: no. 1–3, ed. W. Na- gel, no. 4–7, ed. H. Holle, no. 8–17, ed. K. Hasse; “Mitteilungen des Max-RegerInstituts”, ed. O. Schreiber, Wiesbaden 1954–74, 20 issues, 1973 special issue Beiträge zur Regeiforschung, commemorative book for the 80^th anniversary of Reger’s birth, Leipzig 1953 (authors: H. Grabner, O. Güntzel, J. Haas, K. Hasse, A. Kalkoff, HJ. Moser, H.M. Poppen, A. Schmid-Lindner, E Stein, H. Unger); Max Reger Zum 50. Todestag am 11. Mai 1966. Eine Gedenkschrift, ed. O. Schreiber and G. Sievers, Bonn 1966 (authors: G. Bagier, H. Niemann, O. Söhngen, A. Becker, H. Rösner, K. Dorfmüller, G. Sievers Reger-Gesamtausgabe-Entstehungsgeschichte); Max Reger Beiträge zur Reger-Forschung, edition for the 50^th anniversary of Reger’s death, ed. H. Oesterheld and I. Graefe, Meiningen 1966, contains, i.a. E. Klemm Über Reger und Szymanowski; Max Reger in seiner Zeit. Ausstellung vom 13. bis 18. März 1973. Max Reger – Tage Bonn, ed. S. Kross, Bonn 1973 (authors: H. Bister, S. Kross, R. Jöväri- Tholen, M. Möller, H.P Reiners, W. Syre, G. Wehmeyer, H.H. Zienicke); Max-Reger-Festschrift 1973, ed. H. Oesterheld, Meiningen 1974 (authors: Z. Lissa Max Regers Metamorphosen der “Berceuse” op. 57 von F. Chopin, 1^st ed. in FAM XIII, 1966, G. Rienäcker, H. Oesterheld, W. Siegmund-Schultze); Max Reger 1873—1973. Ein Symposion…, ed. K. Röhring, Wiesbaden 1974 (authors: H. Wirth, W. Stockmeier, G. Sievers, R. Brinkmann, W. Blankenburg, R. Walter et al.). Reger-Studien 1. Festschrift für Ottmar Schreiber…, ed. G. Massenkeil and S. Popp, Wiesbaden 1978; Reger-Studien 2. Neue Aspekte der Regeiforschung, ed. S. Shigihara, Wiesbaden 1986; Reger-Studien 3. Analysen und Quellenstudien, ed. S. Popp and S. Shigihara, Wiesbaden 1988; Reger-Studien 4. Colloque francoallemand/Deutsch-französisches Kolloquium. Pans 1987, ed. S. Shigihara, Wiesbaden 1989; Reger-Studien 5. Beiträge zur Regerforschung, ed. S. Shigihara, Wiesbaden 1993; Reger-Studien 6. Moderne und Tradition. Kongressbericht Karlsruhe 1998, ed. A. Becker, G. Gefäeller and S. Popp, Wiesbaden 2000.

Monographs of life and work – R. Braungart Max Reger, Leipzig 1907; G. Robert-Tornow Max Reger und Karl Straube, Göttingen 1907, reprint Leipzig 1929;  M. Hehemann Max Reger. Ein Leben in Musik, Munich 1911, 1917; H. Poppen Max Reger, Leipzig 1918, 1921, Wiesbaden 1947; Max Reger. Eine Sammlung von Studien aus dem Kreise seiner persönlichen Schüler, ed. R. Würz, Munich, book 1: H. Grabner Regers Harmonik, 1920, book 2: Regers Persönlichkeit (R. Würz Der Lebensgang, J. Haas Reger als Lehrer, H. Unger R. als Mensch), 1921, book 3: H. Holle Regers Chorwerke, 1922, book 4: H. Keller Reger und die Orgel, 1923; H. Unger Max Reger. Darstellung seines Lebens, Wesens und Schaffens, Munich 1921; K. Hasse Max Reger, Leipzig 1921; A. Lindner Max Reger. Ein Bild seines Jugendlebens und künstlerischen Werdens, Stuttgart 1922, 1923, Regensburg 1938; H. Unger Max Reger, Bielefeld 1924; E. Gatscher Die Fugentechnik Max Regers in ihrer Entwicklung, Stuttgart 1925; G.R. Dejmek Der Variationszyklus bei Max Reger, Essen 1930; R. Huesgen Der junge Max Reger und seine Orgelwerke, Schramberg 1935; H.E. Rahner Max Regers Choralfantasien für die Orgel, Kassel 1936; E. Brand Max Reger im Elterhaus, Munich 1938; F. Stein Max Reger, Potsdam 1939, reprint Laaber 1980; K. Hasse Max Reger Entwicklungsgang eines deutschen Meisters, Leipzig 1946; H. Jonas Die Variationsformen bei Max Reger, Cologne 1949; A. Kalkoff Das Orgelschaffen. Max Regers im Lichte der deutschen Orgelerneuerungsbewegung, Kassel 1950; W Abendroth Vier Meister der Musik. Brahms, Mahler, Reger, Pfitzner, Munich 1952; G. Wehmeyer Max Reger als Liederkomponist, Regensburg 1955; E. Otto Max Reger. Sinnbild einer Epoche, Wiesbaden 1957; G. Sievers Die Grundlagen H. Riemanns bei Max Reger, Wiesbaden 1967; M.M. Stein Der heitere Reger Heiteres von und um Max Reger, Wiesbaden 1969, 1971; J. Lorenzen Max Reger als Bearbeiter Bachs, Wiesbaden 1982; R. Häfner Max Reger Klarinettenquintett op. 146, Munich 1982; A. Kraus, H. Fröhlich Max Reger. Die Weidener Jahre 1874–1901, Weiden 1982; M. Möller Untersuchungen zur Satztechnik Max Regers. Studien an den Kopfsätzen der Kammermusikwerke, Wiesbaden 1984; E. Otto Max Reger Sein Weg von Weiden in die Welt 1873–1916, Weiden 1986; R. Brotbeck Zum Spätwerk von Max Reger Fünf Diskurse, Wiesbaden 1988; H. Busch Zur Interpretation der Orgelmusik Max Regers, Kassel 1988; M. Weyer Die Orgelwerke Max Regers, Wilhelmshaven 1989, 1992; G. Weiss-Aigner Max Reger „Mozart-Variationen” op. 132, Munich 1989; R. Cadenbach Max Reger und seine Zeit, Laaber 1991; H. Brauss Max Regers Music for Solo Piano, Edmonton 1994; H. Wilske Max Reger. Zur Rezeption in sejner Zeit, Wiesbaden 1995; P. Zimmermann Musik und Text in Max Regers Chorwerken „grossen Stils”, Wiesbaden 1997; L. Haselböck Analytische Untersuchungen zur motivischen Logik bei Max Reger, Wiesbaden 2000; Ch. Wünsch Technik und Form in den Variationsreihen von Max Reger, Wiesbaden 2002; S. Popp Max Reger. Werk statt Leben – Biographie, Leipzig 2015; M. Schwalb Max Reger. Der konservative Modernist, Regensburg 2018.

Analytical studies and dissertations – H. Leichtentritt Max Reger als Kammermusikkomponist, “Neue Zeitschrift für Musik” LXXII, 1905; H. Mersmann Regers Harmonik, “Allge- meine Musik-Zeitung” XLVIII, 1921; W. Harburger Die moderne Melodik. Die Atonalen und die Regersche Dynamik, in: Form und Ausdrucksmittel in der Musik, Stuttgart 1926; H. Joachim Reger und die deutsche Tradition, “Melos” XII, 1933; R. Walter Die Melodiequellen von Regers Choralbearbeitungen, “Musik und Gottesdienst” XV, 1961; H. Kaufmann Aushöhlung der Tonalität bei R, “Neue Zeitschrift für Musik” CXXVIII, 1967; Z. Lissa Inspiracje chopinowskie w twórczości Maxa Regera, Studia HF, Kraków 1967; P. Prince Reger and the Organ, “Diapason” LXIV, 1972–73; H. Wunderlich Zur Bedeutung und Interpretation von Regers Orgelwerken and H.J. Busch Max Reger und die Orgel seiner Zeit, “Musik und Kirche” XLIII, 1973 no. 1 and 2; C. Dahlhaus Warum ist Regers Musik so schwer verständlich?, H. Kühn Sang und Gegensang. Zu Regers Klarinettenquintett Op. 146 and L.E. Weinitschke Max Regers Chorwerke, “Neue Zeitschrift für Musik” CXXXIV, 1973 no. 3; R. Stephan Max Reger und die Anfänge der Neuen Musik, “Neue Zeitschrift für Musik” CXXXIV, 1973 no. 6; E. Ciesielska, B. Długońska, A. Kowalska Fuga w twórczości Maxa Regera, «Zeszyty Naukowe Akademii Muzycznej w Gdańsku» no. 12, 1973; H. Wirth J. Brahms und Max Reger, in: Brahms-Studien I, 1974; G. Wuensch Max Regers Symphonische Phantasie und Fuge Opus 57, in: De ratione in musica, E. Schenk’s commemorative book, ed. T. Antonicek, R. Flotzinger and O. Wessely, Kassel 1975; A. Dürr Zur geistlichen Musik Max Regers, in: Religiöse Musik in nicht-liturgischen Werken von Beethoven bis Reger, ed. W. Wióra, G. Massenkeil and K.W. Niemöller, Regensburg 1978; G. Schubert Max Reger und die Programmusik, in H. Conradin’s commemorative book, ed. V. Kalisch, Berno-Stuttgart 1983; S. Popp Die ungeschriebenen Oratorien Max Regers, in: Beiträge zur Geschichte des Oratoriums seit Händel, G. Massenkeil’s commemorative book, ed. R. Cadenbach and H. Loos, Bonn 1986; S. Shigihara Reger und München, in: Jugendstil-Musik? Münchner Musikleben 1890–1918, ed. R. Münster and H. Hell, Wiesbaden 1987; Th. Schipperges Max Reger, in: Serenaden zwischen Beethoven und Reger, Frankfurt am Main 1989; S. Shigihara Plädoyer für ein Monstrum. Zur Rezeption von Regers Violinkonzert A-Dur op. 101, M. Möller Max Reger – ein Brahms-Epigone? Zum Klavierkonzert op. 114 and S. Popp Destabilisierung als Kompositionsidee. Zum langsamen Satz von Regers Klavierkonzert, in: Beiträge zur Geschichte des Konzerts, S. Kross’s commemorative book, ed. R. Emans and M. Wendt, Bonn 1990; Th. Seedorf Mozart oder das Problem der Einfachheit – Max Reger, in: Studien zur kompositorischen Mozart-Rezeption im frühen 20. Jahrhundert, Laaber 1990; R. Cadenbach Konzept und Prozess. Zur Spannung zwischen Werkbegriff und Werkerstellung in Max Regers Schaffen, in: Vom Einfall zum Kunstwerk, ed. G. Katzenberger and H. Danuser, Laaber 1993; Ch. S. Anderson Max Reger (1873–1916), in: Twentieth-Century Organ Music, ed. Ch. S. Anderson, New York/London 2012; M. Rot Dzieła kameralne Maxa Regera. Inspiracja twórczością wielkich kompozytorów, Łódź 2017.