Welcome to the Max-Reger-Institute (MRI),
the centre of Reger research

It is the aim of the Max-Reger-Institute to convey Reger's life and work to a larger audience both for scholars and laypeople alike. The substantial collection and library makes the Max-Reger-Institute an important resource to all interested.

 

News

Out now:
Joseph Keilberth conducts Reger and Wolf 1941–1944

Finally the first recordings of Reger by Joseph Keilberths can be presented in cooperation with the German Broadcasting Archive - Böcklin-Suite op. 128 and Mozart Variations op. 132 - with the German Philharmonic Orchestra of Prague at the Josephinum. The Mozart Variations from August 1st 1944 are a CD premiere; due to the war the Telefunken production could not be introduced to the market. The Reger pieces are complemented by Keilberths recorindgs of works by Hugo Wolf - in particular the Italain Serenade for string instruments, which Reger published in 1903 out of Wolf's legacy.

Released on Pristine Classical

Out now:
Rudolf Serkin plays Bach and Reger (with David Singer, clarinet)

Rudolf Serkin, son-in-law of Adolf Busch, but also member of the board of trustees of Max-Reger-Institute, left a rich discographical legacy, but not too many recordings of works by Reger are available. Because of that we are happy to present, in collaboration with Marlboro Music, a performance of Reger's Klarinettensonate B-Dur op. 107 from the year 1977, along with one of Serkins earliest recording ever, Bach's Goldberg-Variationen, which were recorded in 1928 für for Welte-Mignon reproducing piano. This release documents a playback from Klang Raum Riehen in 2015 which was dedicated to Busch, Serkin and Reger and which was accompanied by an exhibition of Max-Reger-Institute.

Released on Pristine Classical

RWA online

Music edition project Reger-Werkausgabe conquers new paths and starts publicating its digital edition's contents through new web service RWA Online.

www.reger-werkausgabe.de

Together with the publication of the two latest edition volumes Songs II (Volume II/2) and Works for mixed voice unaccompanied choir II (Volume II/9) with Carus-Verlag, Stuttgart, the Reger-Werkausgbe (RWA) launches its new project website RWA online. The RWA thus renews its hybrid edition model and publishes the digital edition components online, centrally, sustainably and freely accessible.

As in the past with the volume-by-volume DVDs, the digital edition parts consist of the accompanying scholarly texts, the digital editions with critical report and a comprehensive digital encyclopaedia (from late 2021) about life and œuvre of Max Reger. With RWA online, the previous boundaries of the double edition volume/DVD become permeable. Users will have a variety of possibilities to embark on extensive digital wanderings through the entire complex of works edited in the RWA and their historical contexts beyond a separate volume context. In addition to being able to follow the progress of the edition project just in time, users always will have access to the current state of research and published material.

More on www.reger-werkausgabe.de

Newly published: Songs II

Volume II/2, published by Carus-Verlag, is now available.

Reger caused a sensation in the music world with his songs written between summer 1889 and spring 1901. The composer, who had consolidated himself personally and artistically after years of serious crisis, displayed a harmonic and melodic uncompromisingness in these songs that challenged, fascinated and irritated performers and audiences alike.

The collections that Reger compiled became more and more extensive: Opera 35 and 37 comprised six and five songs, Opera 43 and 48 eight and seven, Opera 51 and 55 twelve and fifteen songs. In addition, he wrote several individual contributions for publication in the Neue Musik-Zeitung (WoO VII/23-29).

In his search for texts, Reger turned to contemporary poetry. The poems he set to music came from representatives of literary Jugendstil and Impressionism, including Otto Julius Bierbaum, Detlev von Liliencron and Richard Dehmel. Intensity and subtlety of feeling, a claim to inwardness and modern emotional language were Reger’s musical yardsticks. The concentration on the modern declamation song in the wake of Hugo Wolf, to whom Opus 51 is dedicated, corresponded to this.

Furthermore, Reger ventured into texts that Richard Strauss had also previously set to music, finding very different solutions in mood and tonal language.

Reger-Werkausgabe, vol. II/2: Songs II, Stuttgart 2021, CV 52.809

Newly published: Works for mixed voice unaccompanied choir II

Volume II/9, published by Carus-Verlag, is now available.

This second volume comprises Reger's mixed choruses composed between 1904 and 1914. The sacred works predominate, with the large motets op. 110 (“Mein Odem ist schwach”, “Ach Herr, strafe mich nicht!”, “O Tod, wie bitter bist du”), the Acht geistliche Gesänge op. 138 and the fragmentary Vater unser. Liturgical Gebrauchsmusik is represented by the Easter motet Lasset uns den Herren praisen, the Vier Kirchengesänge and the English Responsories. The secular works are dominated by the Zwölf Chöre aus dem Volksliederbuch, flanked by the Good Night written for a school book and the Abschiedslied for Fritz Stein.

Reger-Werkausgabe, vol. II/9: Works für gemischten Chor a capella II, Carus-Verlag, Stuttgart 2021, CV 52.816