Requiem (Reger)

Requiem
Choral composition by Max Reger
Page from the autograph of the Requiem, part of Zwei Gesänge für gemischten Chor mit Orchester, first page of Nr.2) Requiem
Key	D minor
Catalogue	Op. 144b
Text	"Requiem" by Friedrich Hebbel
Language	German
Composed	1915
Dedication	Soldiers who fell in the War
Performed	16 July 1916
Published	1916: by N. Simrock
Scoring	alto (or baritone) solo chorus orchestra

Max Reger's Requiem, also known as the Hebbel Requiem, Op. 144b, is a late Romantic setting of Friedrich Hebbel's poem "Requiem" for alto (or baritone) solo, chorus, and orchestra. Written in 1915, it is Reger's last finished choral work with orchestra. He dedicated it in the autograph: "Dem Andenken der im Kriege 1914/15 gefallenen deutschen Helden" (To the memory of the German heroes who fell in the War 1914/15).

Reger had approached the topic before. In 1912, he composed Requiem as a motet for Männerchor (men's chorus) on the same poem, published as the final part of his Op. 83. In 1914, he intended to compose a choral work in memory of the victims of the war. He began a setting of the Latin Requiem, the Catholic service for the dead, which remained a fragment and was later assigned the name and work number Lateinisches Requiem (Latin Requiem), Op. 145.^[1]

The Hebbel Requiem was published in 1916, after the composer's death, by N. Simrock. It was combined with another choral composition, Der Einsiedler (The Hermit), Op. 144a, with words of Joseph von Eichendorff, as Zwei Gesänge für gemischten Chor mit Orchester (Two songs for mixed chorus with orchestra), Op. 144. Reger himself provided a piano transcription of the orchestral parts. Max Beckschäfer arranged the work for voice, chorus and organ in 1985.

Reger thought that the Hebbel Requiem was "among the most beautiful things" he ever wrote.^[2] It has been regarded as a work of "a lyrical beauty, a dramatic compactness, and an economy of musical means" in which the composer's "mastery of impulse, technique, and material is apparent".^[3]

Background

Reger was a German composer, born in Brand in 1883 and raised in Weiden in der Oberpfalz. He studied music theory from April to July 1890 with Hugo Riemann at the royal conservatory in Sondershausen and continued his studies, piano and theory, at the Wiesbaden Conservatory beginning in September that year.^[4] He established himself as a pianist and composer and also taught piano and organ.^[4] The first compositions to which he assigned opus numbers were chamber music. In 1891, he composed, as his Op. 4, a collection of songs. The first, "Gebet" (Prayer), on a text by Friedrich Hebbel who wrote the poem on which two of Reger's Requiem settings are based.^[5]

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. He moved to Munich in 1901. Income from publishers, concerts and teaching private students enabled him to marry in 1902. His wife, Elsa von Bercken, was a divorced Protestant, therefore he was excommunicated. In 1907, he was appointed musical director at the Leipzig University and professor at the Royal Conservatory in Leipzig.^[4]

Isle of the Dead by Arnold Böcklin^[6]

In 1911, Reger was appointed Hofkapellmeister (music director) at the court of Duke Georg II of Saxe-Meiningen, retaining his master class at the Leipzig conservatory.^[4] In 1912, he set the poem "Requiem" by Hebbel as a motet for unaccompanied men's chorus, which was published as No. 10 of his collection Op. 83.^[7] 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 1914, in response to World War I, he thought to compose a choral work to commemorate the soldiers who died and would die. He began to set the Latin Requiem but abandoned the work as a fragment.^[4] In 1915, he moved to Jena but continued teaching in Leipzig. In Jena, he composed the Hebbel Requiem for soloist, choir and orchestra, Op. 144b, again on Hebbel's poem, as in the setting for men's chorus.^[8][9][10] After a full day of teaching in Leipzig, Reger died there on 11 May 1916.^[4]

Hebbel's poem

Friedrich Hebbel, painting by Carl Rahl, 1855

In 1840, the dramatist Friedrich Hebbel wrote a poem in German titled "Requiem", its Latin title alluding to "Requiem aeternam" (rest eternal), the first words of the Mass for the Dead. Hebbel's poem opens with an apostrophe to his own soul in the cry, "Seele, vergiß sie nicht, Seele, vergiß nicht die Toten" (O soul, forget them not, o soul, forget not the dead).^[11][12] These words echo those of psalms such as Psalm 103, "Bless the Lord, o my soul". Hebbel, however, evokes a "rest eternal" for the dead that is distinctly non-religious: The poem offers no metaphysical reference, Christian or other, but calls for memory as the only means of keeping the dead alive.^[8][9] The first lines, where the speaker enjoins his own soul not to forget the dead, are repeated in the centre of the poem and again at its conclusion, as a refrain that sets apart two longer sections of verse. The first section so framed describes the dead as hovering in every direction, shuddering, and deserted ("Sieh, sie umschweben dich, schauernd, verlassen"). If nurtured by love, they are seen as enjoying one last moment in their final glow of life. The latter section portrays a different fate for souls that have been forgotten: utterly numbed, they are hunted and seized by the storms of night, with everything worn away except an unending, desolate struggle for renewed existence.^[13] The speaker is not identified, but may be "a poetic narrator, divine voice, or even the dead [themselves]".^[14]

The poem was published in 1857. Peter Cornelius composed a funeral motet on the poem for a six-part chorus in 1863 in response to the author's death.^[15]

Motet

Requiem
Motet by Max Reger
Catalogue	Op. 83/10
Text	"Requiem" by Hebbel
Composed	1912
Scoring	Männerchor (men's chorus)

Reger composed his first setting of Hebbel's poem as a motet for unaccompanied men's choir in 1912 in Meiningen, where he had worked from 1911.^[4] He composed it for the Basler Liedertafel, conducted by Hermann Suter, who performed it on 18 May 1912 to celebrate their 60th anniversary, while they performed the official premiere for the national festival Schweizer Eidgenössisches Sängerfest in Neuchâtel on 22 July 1912.^[7]

Reger, reflecting the structure of the poem, uses the same material every time the refrain appears, as a homophonic setting, while "ihr verglimmendes Leben" (their fading life) is illustrated by "a sequence of chromatically descending sixth chords",^[16] often in Reger's works an expression of "pain, fear, death, and suffering—common associations with chromaticism since the sixteenth century".^[16] Both features reappear in the later setting of the poem in the Hebbel Requiem.^[16]

Titled Requiem, the work was later published as the final part of Zehn Lieder für Männerchor (Ten songs for men's chorus), Op. 83, together with earlier compositions from 1904.^[7][17]

Lateinisches Requiem

Lateinisches Requiem
Choral composition (fragment) by Max Reger
Catalogue	Op. 145a WoO V/9
Text	Requiem
Language	Latin
Composed	1914
Performed	28 May 1938 (movement 1) 3 November 1979
Scoring	soloists chorus orchestra

In 1914, after the outbreak of World War I, Reger intended to compose a work commemorating the soldiers who died and would die.^[4] He aimed to write a choral work "großen Stils" (in great style).^[18] In autumn of 1914, he was in discussions with a theologian in Giessen about a project for a composition possibly to be called "Die letzten Dinge (Jüngstes Gericht u. Auferstehung)" "(The Last Things [Final Judgment and Resurrection])".^[19] Organist Karl Straube, who had premiered several of Reger's organ works, recommended that Reger compose the traditional Latin Requiem instead, because Die letzten Dinge would only be a variation on Ein deutsches Requiem by Johannes Brahms.^[19] Following the advice, Reger managed the composition of the introit and Kyrie, combining both texts in one movement. He announced the composition project for soloists, chorus, orchestra and organ to his publisher on 3 October 1914.^[19] The Dies irae remained unfinished.^[2][20] Reger wrote to Fritz Stein, his friend and later biographer, that he was in the middle of composing it, but he interrupted the work after the line "statuens in parte dextra".^[21]

The work is scored for soloists (soprano, alto, tenor, bass), a four-part choir, SATB, three flutes (also piccolo), two oboes, cor anglais, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, three percussionists and strings.^[1] The work is Reger's only choral composition using a solo quartet. The four "Klangapparate" appear like the several choirs in compositions by Heinrich Schütz.^[22] The first movement opens with a long organ pedal point, which has been compared to the beginning of Wagner's Das Rheingold and the Brahms Requiem.^[22]

The work remained unfinished. The first movement was later assigned the name and work number Lateinisches Requiem, Op. 145a, by the publisher. It was first performed by Stein, who conducted it in Berlin on 28 May 1938 four soloists and the enlarged choir of the Musikhochschule Berlin.^[1][23] In was then performed with a German text adapted to suit Nazi ideology.^[22] This version was published in 1939 by the Max Reger Society, titled Totenfeier (Funeral rite).^[24] The unfinished Dies irae was first published in 1974.^[22] The Dies irae was first performed in Hamburg on 3 November 1979 by Yoko Kawahara, Marga Höffgen, Hans-Dieter Bader, Nikolaus Hillebrand, the NDR Chor and NDR Sinfonieorchester, conducted by Roland Bader.^[1]

The work is now officially catalogued as WoO V/9.^[1]

Hebbel Requiem

History

Max Reger on a 1910 postcard

Johannes Brahms, in his Ein deutsches Requiem (A German Requiem), had already opened the way for the composition of a non-liturgical Requiem, written in a language other than Latin, that still addressed the traditional theme of rest for the dead.^[25] In this tradition, Reger's Requiem, Op. 144b, is also not a setting of the Requiem in Latin, but of Hebbel's poem.^[12] He composed it in Jena in 1915, a year before his own death, this time for a solo voice (alto or baritone), chorus and orchestra.^[8] The Requiem, Op. 144b, was combined with Der Einsiedler (The Hermit), 144b, on words of Joseph von Eichendorff as Zwei Gesänge für gemischten Chor mit Orchester (Two songs for mixed chorus with orchestra), Op. 144.^[26] Reger wrote as a dedication in the autograph of the Requiem: "Dem Andenken der im Kriege 1914/15 gefallenen deutschen Helden" (To the memory of the German heroes who fell in the War 1914/15).^[23][27]

Reger completed the composition on 25 August 1915. He wrote to the publisher N. Simrock on 8 September: "I've finished two choral works (Der Einsiedler and Requiem). I think I can safely say that they're both among the most beautiful things I've ever written." ("Ich habe nun zwei Chorwerke (Der Einsiedler und Requiem) fertig. Ich glaube sagen zu dürfen, daß diese beiden Chorwerke mit das Schönste sind, was ich je geschrieben habe.")^[2] Requiem was first published by N. Simrock in 1916, edited by Ulrich Haverkampf, with the dedication "Dem Andenken der im großen Kriege gefallenen deutschen Helden" (To the memory of the German heroes who fell in the Great War).^[8] Simrock also published a vocal score, prepared by Reger himself.^[8]

The Hebbel Requiem was first performed in Heidelberg on 16 July 1916, after the composer's death, as part of a memorial concert for Reger,^[2] with Eva Katharina Lissmann, the choirs Bachverein and Akademischer Gesangverein, and the enlarged Städtisches Orchester (Municipal orchestra), conducted by Philipp Wolfrum.^[8]

In 1925, Requiem was published in Vienna as a pocket score, Philharmonia-Taschenpartitur No. 284.^[2] Requiem was published in 1928 by Edition Peters.^[28] Peters gives the performance duration as 25 minutes,^[28] while the duration when following the metronome marking is 14 minutes.^[8]

Music

Structure

Reger's Hebbel Requiem is in one movement, following mainly the structure of the poem but with variations, resulting in a structure of different moods. The beginning is recalled in the centre and in the end. The following table is based on the score^[29] and an analysis by Katherine FitzGibbon.^[30] The translation of the incipits is given as in the liner notes of the 2009 recording in the translation by Richard Stokes.^[31] The four parts SATB of the chorus are often divided. The key is D minor, as is Mozart's Requiem. The tempo in common time is marked Molto sostenuto,^[32] kept with only slight modifications by stringendo and ritardando until the most dramatic section, marked Più mosso (moving more) and later Allegro, returning to the first tempo for the conclusion.^[29]

Section	Text	Translation	Vocal	Marking
A	Seele, vergiß sie nicht	Soul, forget them not	Solo	Molto sostenuto
	Sieh, sie umschweben dich	See, they hover around you	SSAATTBB
B	und in den heiligen Gluten	And in the holy ardour	SATTBB
A'	Seele, vergiß sie nicht	Soul, forget them not	Solo
	Sieh, sie umschweben dich	See, they hover around you	SSAATTBB
C	und wenn du dich erkaltend ihnen verschließest	And if, growing cold	SATB
	Dann ergreift sie der Sturm der Nacht	The storm of night then seizes them	SATB	Più mosso – Molto sostenuto – Allegro
A''	Seele, vergiß sie nicht	Soul, forget them not	Solo SATB (chorale melody)	Molto sostenuto

Sections

A

The short instrumental introduction is based on a pedal point for several measures,^[32] reminiscent of the openings of Bach's St John Passion and St Matthew Passion, Mozart's Requiem and Reger's previous Latin Requiem.^[33] In a pattern strikingly similar to the beginning of A German Requiem, the bass notes are repeated, here on an extremely low D,^[32] lower even than the opening of Wagner's Das Rheingold on E-flat.^[34]

In the autograph, Reger wrote the many necessary ledger lines (rather than using the symbol an octave lower), perhaps in order to stress the depth. The soloist alone sings the intimate appellation "Seele, vergiß sie nicht" (Soul, forget them not) on a melody simple as a chorale, repeating the first line after the second.^[35] Throughout the piece the soloist sings only these words, in the beginning and in the repeats.^[29] The chorus, here divided in eight parts, illustrates the hovering, "Sieh, sie umschweben dich" (See, they hover around you), in mostly homophon chords, marked ppp,^[35] in a fashion reminiscent of Heinrich Schütz.^[36]

B

In section B, "und in den heiligen Gluten" (And in the holy ardour), the pedal point ends.^[16] The chorus is divided in 4 to 6 parts, with the parts in more independent motion.^[37] Similar to works by Heinrich Schütz, two or three voices often introduce new text.^[16]

A'

The soloist sings the recapitulation of the beginning similar to the first time, again on the pedal point,^[16] but repeats the second line one more time, while the chorus sings about the hovering as before.^[38]

C

In section C, "und wenn du dich erkaltend ihnen verschließest" (And if, growing cold, you close yourself to them, they stiffen), Reger uses word painting, by downward lines and a final decrescendo for the line "erstarren sie bis hinein in das Tiefste" (they freeze within, into the depths).^[16] The chorus "stiffens" on a dissonant 5-part chord on the word erstarren; the chord is held for two measures, suddenly fortissimo and crescendo at the end, then repeated pianissimo, an octave lower, without motion.^[39]

In great contrast, in "Dann ergreift sie der Sturm der Nacht" (The storm of night then seizes them), a storm is depicted in dense motion of four parts imitating a theme in triplets.^[40]

A''

In the conclusion the soloist begins as before, but this time the chorus finally joins in the words of the appellation.^[41] The soloist introduces a new wording "Vergiß sie nicht, die Toten" (Forget them not, the dead), repeated by the chorus (espressivo, dolcissimo) on the melody of the chorale "O Haupt voll Blut und Wunden"^[42] which Bach used in his St Matthew Passion in five stanzas.^[36] The melody is not repeated, as in the original, but continued for half of a line. Reger is known for quoting chorales in general and this one in particular, most often referring to its last stanza "Wenn ich einmal soll scheiden",^[16] which Bach inserted in the Passion right after the death of Jesus. The quoted words, of the bar form's stollen and a fragment of the abgesang would then be "Wenn ich einma so scheiden, so scheide nicht von mir. Wenn mir am allerbängsten ..." (When I must depart one day, do not part from me then. When the greatest anxiety ...),^[43] not finishing the sentence but ending on "greatest anxiety" or "most anxious trembling".^[44] Reger completes the chorale setting without further reference to the chorale tune for the chorus, while the solo voice repeats at the same time "Seele, vergiß nicht die Toten", concluding with a downward line of more than an octave.^[45]

Scoring

The Requiem employs a large orchestra^[28] of two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, three percussionists and strings.^[8] It requires a chorus to match; therefore, it has been performed only rarely. Reger himself wrote a version for piano.^[31]

To make the music more accessible, the composer and organist Max Beckschäfer arranged the work for voice, chorus and organ in 1985.^[46] The organ version was premiered in the Marktkirche Wiesbaden, where Reger had played the organ himself when he studied there in the 1890s.^[4] Gabriel Dessauer conducted a project choir, later known as the Reger-Chor.^[47] Beckschäfer was the organist. The choir, expanded by singers from Belgium to the Reger-Chor-International, performed the work again in 2001 with organist Ignace Michiels from the St. Salvator's Cathedral of Bruges, both in the Cathedral of Bruges and in St. Bonifatius, Wiesbaden (recorded live).^[47] They performed it a third time in 2010 to celebrate the 25th anniversary of the Reger-Chor.^[48]

Evaluation

A reviewer of a recording of choral works by Reger noted about Requiem: "almost mystical in its use of widely spaced chords, unusual harmonic shifts and dreamy arpeggios in the accompaniment."^[49] The program notes for the recording mention that in the "anguished, expressionistic evocation of the 'shuddering', 'forsaken', 'cold' souls, the piece seems determined to expose death in all its grim horror."^[31]

Debra Lenssen wrote in her thesis (2002) about Reger's music in his last choral works with orchestra:

As their composer's final completed works for chorus and orchestra, Der Einsiedler and Requiem, Op. 144a and 144b, demonstrate Max Reger's mature ability when setting poems of recognized literary merit. These powerful single-movement works from 1915 defy many stereotypes associated with their composer. They manifest a lyrical beauty, a dramatic compactness, and an economy of musical means. The central theme of both is mortality and death. In these challenging works, his mastery of impulse, technique, and material is apparent. Op. 144 constitutes both a continuation of Reger's choral/orchestral style in earlier works and, by dint of the composer's death as a mid-aged man, the culmination of it.^[3]

Recordings

Recordings of Requiem (Reger)

Title	Conductor / Choir / Orchestra	Soloists	Label	Year
Max Reger, Chorstücke[50]	Martini, JoachimJoachim Martini Junge Kantorei Symphonisches Orchester Berlin	Max van Egmond	Teldec (recorded live in the Berliner Philharmonie)	1969
Max Reger Requiem, Op. 144b; Lateinisches Requiem, Op. 145a; Dies irae[23]	Bader, RolandRoland Bader NDR Chor NDR Symphonieorchester	Yoko Kawahara Marga Höffgen Hans-Dieter Bader Nikolaus Hillebrand	Koch Schwann (first performance of Dies irae)	1979
Max Reger Orchesterlieder[51] Der Einsiedler, Op. 144a, Hymnus der Liebe, Op. 136, Requiem, Op. 144b, An die Hoffnung, Op. 124	Albrecht, GerdGerd Albrecht Choir of St. Michaelis Monteverdi-Chor Hamburg Philharmonic	Dietrich Fischer-Dieskau	Orfeo	1990
Max Reger: Der 100. Psalm; Der Einsiedler; Requiem (Hebbel)[52]	Ludwig, Klaus UweKlaus Uwe Ludwig Bach-Chor Wiesbaden Bach-Orchester Wiesbaden	Anselm Richter	Melisma (recorded live in Lutherkirche, Wiesbaden)	2000
Hebbel Requiem[47][53] (organ version)	Dessauer, GabrielGabriel Dessauer Reger-Chor	Ignace Michiels (organ)	(recorded live in St. Bonifatius, Wiesbaden)	2001
Max Reger (1873-1916) / Choral Works[31][49] (piano version)	Smith, Andrew-JohnAndrew-John Smith Consortium	Alexander Learmonth Christopher Glynn (piano)	Hyperion	2009

Performances

The Hebbel Requiem was performed as part of the Ouverture spirituelle of the 2014 Salzburg Festival, along with Bruckner's Fourth Symphony, with Placido Domingo as baritone soloist and the Vienna Philharmonic conducted by Daniel Barenboim.^[54]

References

1. Institut 145a 2016.
2. Grim 2005.
3. Lenssen 2002.
4. Institut 2016.
5. Institut 4 2016.
6. "Gottfried Keller-Stiftung: Ausleihe und Reproduktionen" (in German). bundesmuseen.ch. Retrieved 2014-12-05.
7. Institut 83 2016.
8. Institut 144b 2016.
9. Eckle 2014.
10. Höflich 2010.
11. Anthologie 2016.
12. McDermott 2010, pp. 201,217.
13. McDermott 2010, pp. 201.
14. FitzGibbon 2014, p. 35.
15. Farr 2004.
16. FitzGibbon 2014, p. 36.
17. Boosey 83 2010.
18. FitzGibbon 2014, p. 3.
19. FitzGibbon 2014, p. 10.
20. Sprondel 2014, p. 9.
21. FitzGibbon 2014, p. 11.
22. FitzGibbon 2014, p. 13.
23. Bader 2009.
24. FitzGibbon 2014, p. 14.
25. FitzGibbon 2014, p. 1.
26. Institut 144 2016.
27. Katzschmann 2010.
28. Peters 2010.
29. Score 2010.
30. FitzGibbon 2014, p. 15.
31. Downes 2010.
32. Score 2010, p. 3.
33. FitzGibbon 2014, p. 16,35.
34. Ease 2016.
35. Score 2010, p. 4.
36. FitzGibbon 2014, p. 17.
37. Score 2010, pp. 5–7.
38. Score 2010, pp. 7–9.
39. Score 2010, p. 9.
40. Score 2010, pp. 10–15.
41. Score 2010, p. 16–17.
42. Score 2010, pp. 17–19.
43. Dellal 2016.
44. Schönstedt 2002.
45. Score 2010, p. 19.
46. Reger 2010.
47. Hoernicke 2001.
48. Hoernicke 2010.
49. Dixon 2010.
50. Martini 2016.
51. Presto 2010.
52. AllMusic 2000.
53. Orgue 2010.
54. Salzburg 2014.

Bibliography

Scores

• 10 Gesänge, Op.83 (Reger, Max): Scores at the International Music Score Library Project
• Requiemsatz, Op.145a: Scores at the International Music Score Library Project
• Requiem, Op.144b: Scores at the International Music Score Library Project
• Zwei Gesänge für gemischten Chor mit Orchester / 2 / Requiem (Hebbel). Edition Peters. 2010.

Max-Reger-Institut

• "Sechs Lieder Op. 4" (in German). Max-Reger-Institut. Retrieved 17 April 2016.
• "Zehn Gesänge für Männerchor Op. 83" (in German). Max-Reger-Institut. Retrieved 3 April 2016.
• "Zwei Gesänge Op. 144 / für Solostimme, gemischter Chor und Orchester" (in German). Max-Reger-Institut. Retrieved 3 April 2016.
• "Requiem Op. 144b" (in German). Max-Reger-Institut. Retrieved 4 April 2016.
• "Requiem WoO V/9" (in German). Max-Reger-Institut. Retrieved 3 April 2016.

Books

• Lenssen, Debra (2002). "Max Reger's final choral/orchestral work: a study of opus 144 as culmination within continuity". University of Cincinnati. Retrieved 10 July 2010.
• McDermott, Pamela (2010). "The Requiem Reinvented: Brahms‘s Ein deutsches Requiem and the Transformation from Literal to Symbolic" (PDF). p. 201 of 226, 1.3 MB. Retrieved 12 July 2010.
• Schönstedt, Rolf (2002). 7. Max Reger – Das Geistliche Lied als Orgellied – eine Gattung entsteht (in German). Hochschule für Kirchenmusik Herford. Im 2.Teil zitiert der Sopran den c.f. O Haupt voll Blut und Wunden original, ohne Wiederholung bis zur ersten Halbzeile nach dem Stollen, ... Inbegriff dieses Passionsliedes war für Reger wohl stets die 9. Strophe Wenn ich einmal soll scheiden..., was aus einem Briefzitat an Arthur Seidl 1913 als bewiesen erscheint: 'Haben Sie nicht bemerkt, wie durch alle meine Sachen der Choral hindurchklingt: Wenn ich einmal soll scheiden?'
• Sprondel, Friedrich (2014). "Und die Toten werden die Stimme Gottes hören ..." (PDF) (in German). Bachakademie. Retrieved 14 March 2015.

Journals

• FitzGibbon, Katherine (2014). "Historicism and German Nationalism in Max Reger's Requiems" (PDF). The Choral Scholar (National Collegiate Choral Organization) 4. Retrieved 14 March 2015.

Newspapers

• Hoernicke, Richard (2001). "Wenn Freunde musizieren" (in German). Wiesbadener Tagblatt.
• Hoernicke, Richard (2010). "Gelungenes Finale der Musikwochen" (in German). Allgemeine Zeitung.

Online sources

• Dellal, Pamela (2016). "BWV 244 – Matthäus-Passion". Emmanuel Music. Retrieved 11 April 2016.
• Dixon, Gavin (2010). "Max Reger (1873-1916) / Choral Works". musicweb-international.com. Retrieved 14 March 2015.
• Downes, Michael (2010). "Requiem, Op 144b". Hyperion Records. Retrieved 14 March 2015.
• Eckle, Georg-Albrecht (2014). "Nur eine kleine Zeit / Max Reger's "Requiem"". Gesellschaft der Musikfreunde in Wien. Retrieved 14 March 2015.
• Farr, Robert J (2004). "Peter Cornelius (1824–1874) Seele, vergiss sie nicht Requiem". musicweb-international.com. Retrieved 13 July 2010.
• Grim, William (2005). "Lateinisches Requiem für Soli, Chor und Orchester, Op. 145a" (PDF). Musikproduktion Höflich. Retrieved 14 March 2015.
• Katzschmann, Christian. "Max Reger (1873–1916) Requiem, Op. 144b (Hebbel)" (in German). musiktext.de. Retrieved 10 July 2010.
• "Max Reger: Der 100. Psalm; Der Einsiedler; Requiem (Hebbel)". AllMusic. 2000. Retrieved 8 April 2016.
• "Max Reger / Requiem "Seele, vergiß sie nicht" op. 144b" (PDF). Musikproduktion Höflich. 2005. Retrieved 3 April 2016.
• Requiem, song for alto or baritone, chorus & orchestra, Op. 144b at AllMusic
• "Friedrich Hebbel / Requiem". Freiburger Anthologie (in German). Freiburg University. 2016. Retrieved 4 April 2016.
• "Max Reger (1873–1916) Requiem, Op. 144b/Op. 145a/Dies irae". classics-glaucus. 2009. Retrieved 10 July 2010.
• "Max Reger: Requiem, Op. 83/10". Boosey & Hawkes. 2010. Retrieved 10 July 2010.
• "Das Rheingold — Synopsis / (English title: The Rhinegold) / An Opera by Richard Wagner". musicwithease.com. Retrieved 17 April 2010.
• "Curriculum vitae". Max-Reger-Institut. Retrieved 3 April 2010.
• "Max Reger, Chorstücke (1969)". Junge Kantorei. Retrieved 12 April 2016.
• "#2 Gabriel Dessauer, Ignace Michiels" (in French). France Orgue. Retrieved 10 July 2010.
• "Reger, Max Requiem Op.144b". Edition Peters. 2010. Retrieved 3 January 2011.
• "Reger: Requiem". prestoclassical.co. 2010. Retrieved 10 July 2010.
• "Max Reger Kompositionen" (in German). maxreger.de. 2010. Retrieved 10 July 2010.
• "Konzert 2014" (PDF). Salzburg Festival. Retrieved 10 April 2016.

External links

• Requiem, song for alto or baritone, chorus & orchestra, Op. 144b at AllMusic
• Requiem compositions of Max Reger on requiemsurvey
• Entries for the Requiem, Op. 144b on WorldCat
• "Requiem" (in German). The Lied and Art Song Texts Page. 2010. Retrieved 13 July 2010.
• "Zwei Gesänge für gemischten Chor mit Orchester". The Moldenhauer Archives of the Library of Congress. Retrieved 10 July 2010.