Requiem
Choral composition byMax Reger
First page from the autograph of the piano version of theRequiem, with title and dedication
Key	D minor
Opus	144b
Text	"Requiem" byFriedrich Hebbel
Language	German
Composed	1915 (1915)
Dedication	Soldiers who fell in the War
Performed	16 July 1916 (1916-07-16)
Published	1916 (1916): byN. Simrock
Scoring	alto orbaritone solo chorus orchestra

Max Reger's 1915Requiem (or theHebbel Requiem),Op. 144b, is alate Romantic setting ofFriedrich Hebbel's poem "Requiem" foralto orbaritone solo, chorus and orchestra. It is Reger's last completed work for chorus and orchestra, dedicated in theautograph asDem Andenken der im Kriege 1914/15 gefallenen deutschen Helden (To the memory of the German heroes who fell inthe 1914/15 War).

Reger had composedRequiem settings before: his 1912motet formale chorus, published as the final part of hisOp. 83, uses the same poem, and in 1914 he set out to compose a choral work in memory of thevictims of the Great War. The setting is of the LatinRequiem, theCatholic service for the dead, but the work remained a fragment and was eventually designated theLateinisches Requiem (Latin Requiem),Op. 145a.^[1]

TheHebbel Requiem was published byN. Simrock in 1916, after the composer's death, with another choral composition,Der Einsiedler (The Hermit),Op. 144a, to a poem byJoseph von Eichendorff. That publication was titledZwei Gesänge für gemischten Chor mit Orchester (Two songs for mixed chorus with orchestra),Op. 144. Reger provided a pianotranscription of the orchestral parts.Max Beckschäfer arranged the work for voice, chorus and organ in 1985. TheHebbel Requiem was first performed in Heidelberg on 16 July 1916 as part of a memorial concert for Reger, conducted byPhilipp Wolfrum.

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

Reger was a German composer, born inBrand in 1873 and raised inWeiden in der Oberpfalz. He studiedmusic theory from April to July 1890 withHugo Riemann at the royal conservatory inSondershausen and continued his studies, in piano and theory, at theWiesbaden Conservatory beginning in September of that year.^[4] He established himself as a keyboard composer, performer, and teacher of piano and organ.^[4] Thefirst compositions to which he assignedopus numbers werechamber music. In 1891 he composed hisSechs Lieder, Op. 4, a collection of six songs. The first, "Gebet" (Prayer), was on a text byFriedrich Hebbel, who also 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 song),Op. 21. He moved toMunich in 1901. Income from publishers, concerts and private teaching enabled him to marry in 1902. His wife, Elsa von Bercken, was adivorcedProtestant, and as a result he wasexcommunicated from theCatholic Church. In 1907 he was appointed musical director atLeipzig University and professor at the Royal Conservatory in Leipzig.^[4]

In 1911 Reger was appointedHofkapellmeister (music director) at the court of DukeGeorg II of Saxe-Meiningen, while retaining his professorial duties at the Leipzig conservatory.^[4] In 1912 he set Hebbel's poem "Requiem" as amotet for unaccompanied male choir, which was published as No. 10 of his collectionOp. 83.^[7] In 1913 he composed fourtone poems on paintings byArnold Böcklin (Vier Tondichtungen nach A. Böcklin), including the paintingDie Toteninsel (Isle of the Dead), as hisOp. 128. He gave up the court position in 1914 for health reasons. That year, in response to the World War, he set out to compose a choral work to commemorate the soldiers who had died or were mortally wounded. He began to set the LatinRequiem but abandoned the work as a fragment.^[4] In 1915 he moved toJena but continued teaching in Leipzig. In Jena, he composed theHebbel Requiem for soloist, choir and orchestra, Op. 144b, again on Hebbel's poem, as in the setting for men's chorus.^[8][9][10] Following a full day of teaching in Leipzig, Reger died of a heart attack while staying at a hotel there on 11 May 1916.^[4]

In 1840 theplaywright Friedrich Hebbel wrote a poem in German titled "Requiem", itsLatin title alluding to "Requiem aeternam" (eternal rest), the first words of theMass for the Dead. The poem opens with anapostrophe to a "soul" in a plea, "Seele, vergiß sie nicht, Seele, vergiß nicht die Toten" (Soul, forget them not, soul, forget not the dead).^[11][12] These words appear to echo variouspsalms, such asPsalm 103, "Bless the Lord, O my soul". Hebbel, however, evokes an "eternal rest" that is distinctly non-religious: the poem offers nometaphysical reference,Christian or otherwise, but calls for remembrance as the only way to keep the dead alive.^[8][9] The first lines, in which the speaker calls upon the 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 of these sections describes how the dead, nurtured by love, enjoy a final glow of life. In contrast, the latter section portrays a different fate for souls that have been forsaken: who are relegated to an unending, desolate struggle for renewed existence.^[13] The musicologist Katherine FitzGibbon notes that the speaker of this narrative is not identified, but may be "a poetic narrator, divine voice, or even the dead".^[14]

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

Reger composed his first setting of Hebbel's poem as a motet for unaccompanied male choir in 1912 inMeiningen, where he had worked from 1911.^[4] He composed it for the Basler Liedertafel, conducted byHermann Suter, who performed it on 18 May 1912 to celebrate their 60th anniversary before giving the official premiere at the nationalSchweizer Eidgenössisches Sängerfest (Swiss federal song festival) inNeuchâtel on 22 July 1912.^[7]

In accordance with the poem's structure, Reger used the same material for each of the refrains, in ahomophonic setting. The words "ihr verglimmendes Leben" (their dimming life) are illustrated by "a sequence of chromatically descending sixth chords".^[16] Similar descending chords are often found in Reger's works as a musical expression of "pain, fear, death, and suffering—common associations with chromaticism since the sixteenth century", according to FitzGibbon.^[16] Both the recurring refrain and the descending chords reappear in the later setting of the poem in theHebbel Requiem.^[16]

The motet was published under the titleRequiem as the closing part ofZehn Lieder für Männerchor (Ten songs for men's chorus),Op. 83, with earlier compositions from 1904.^[7][17]

After the outbreak of war, Reger intended to compose a work commemorating the soldiers who had died or were mortally wounded,^[4] a choral work of "großen Stils" (in great style).^[18] By the autumn of 1914, he was in discussion with a theologian inGiessen about a composition, tentatively titled "Die letzten Dinge (Jüngstes Gericht u. Auferstehung)""(The Last Things [Final Judgment and Resurrection])".^[18] The organistKarl Straube, who had premiered several of Reger's organ works, recommended that Reger compose the traditional Latin Requiem instead, becauseDie letzten Dinge would only be a variation onEin deutsches Requiem byJohannes Brahms.^[18] Following his advice, Reger managed the composition of theintroit andKyrie, combining both texts into one movement. He announced the project, a composition for soloists, chorus, orchestra and organ, to his publisher on 3 October 1914.^[18] TheDies irae remained unfinished.^[2][19] Reger wrote toFritz Stein, his friend and later biographer, that he was in the middle of its composition, but had been interrupted after the line "statuens in parte dextra".^[20]

TheLateinisches Requiem is scored for soloists (soprano,alto,tenor,bass), a four-part (SATB) choir, 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] It is Reger's only choral composition to use four soloists. The four "Klangapparate" are used like the several choirs in compositions byHeinrich Schütz.^[21] The first movement opens with a long organpedal point, which has been compared to the beginning of Wagner'sDas Rheingold and the BrahmsRequiem.^[21]

The work remained unfinished at Reger's death, and his publisher named the first movement theLateinisches Requiem,Op. 145a. The music was first performed by Stein in Berlin on 28 May 1938 with four soloists and the enlarged choir of theMusikhochschule Berlin.^[1][22] For this performance, the liturgical Latin text was replaced by a German text, adapted to suitNazi ideology. Hellmut von Hase titled his textTotenfeier (Rite of the Dead) and managed to serve "the Nazi adulation of the fallen war hero" (as FitzGibbon said), dropping references to the bible. He replaced for example "exaudi orationem meam, ad te omnis caro veniet" (Hear my prayer; to you shall all flesh come) by "In sorrow we mutely lower the flags, for into the grave sunk what was dear to us."^[23] This version was published in 1939 by the Max Reger Society.^[23]

The unfinishedDies irae was published in 1974^[21] and first performed in Hamburg'sSt. Jakobi^[24] on 3 November 1979 byYoko Kawahara,Marga Höffgen,Hans-Dieter Bader,Nikolaus Hillebrand, theNDR Chor andNDR Sinfonieorchester, conducted byRoland Bader.^[1]

TheLateinisches Requiem is officially catalogued as WoO V/9.^[1]

Johannes Brahms, in hisEin deutsches Requiem (A German Requiem), had already opened the way for the composition of a non-liturgicalRequiem, written in a language other than Latin while still addressing the traditional theme of rest (requies) for the dead.^[25] In this tradition, Reger's 1915Requiem,Op. 144b, is also not a setting of the Requiem in Latin, but of Hebbel's poem.^[12] He composed it in Jena, a year before his own death, this time for a solo voice (alto or baritone), chorus and orchestra.^[8] TheRequiem,Op. 144b, was combined withDer Einsiedler (The Hermit),Op. 144a, a setting of a poem byJoseph von Eichendorff, asZwei Gesänge für gemischten Chor mit Orchester (Two songs for mixed chorus with orchestra),Op. 144.^[26] Reger titled the autograph of the piano version:Zwei Gesänge / für / gemischten Chor / mit Orchester /Nr. 2) Requiem / (Hebbel), and he wrote the dedication:Dem Gedenken der im / Kriege 1914/15 gefallenen / deutschen Helden (To the memory of the German heroes who fell in the War 1914/15).^[22][27]

Reger completed the composition on 25 August 1915. He wrote to the publisherN. Simrock on8 September: "I've finished two choral works (Der Einsiedler andRequiem). 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 byN. Simrock in 1916, edited by Ulrich Haverkampf, with the dedicationDem 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 as prepared by Reger himself.^[8]

TheHebbel Requiem was first performed, together withDer Einsiedler, in Heidelberg on 16 July 1916, after the composer's death, as part of a memorial concert for Reger,^[2] featuring Eva Katharina Lissmann, the choirs Bachverein and Akademischer Gesangverein, and the enlarged Städtisches Orchester (Municipal Orchestra), conducted byPhilipp Wolfrum.^[8]

In 1925 theRequiem was published in Vienna as a pocket score,Philharmonia-Taschenpartitur No. 284.^[2]Edition Peters published it in 1928, stating the performance duration as 25 minutes,^[28] although the duration implied by the metronome marking is 14 minutes.^[8]

Reger'sHebbel Requiem is in a single movement. It follows the overall form of the narrated poem, but with variations, resulting in differing moods throughout the piece. The beginning is recalled in the middle and at the end. The following table is based on the score^[29] and on an analysis by Katherine FitzGibbon.^[30] The translation of theincipits is given as in the liner notes of the 2009 recording in the translation by Richard Stokes.^[31] The four-partSATB chorus is often divided. The work is inD minor andcommon time. The tempo marking isMolto sostenuto,^[32] and is sustained with only slight modifications (stringendo andritardando) until the most dramatic section, markedPiù mosso (faster) and laterAllegro, returning to the initial tempo for the conclusion.^[29]

The instrumental introduction is based on apedal point sustained for several measures,^[32] reminiscent of pedal points in funeral music by Schütz and Bach, inMozart's Requiem in the same key of D minor, and in Reger's previous Latin Requiem.^[14] In a pattern similar to the beginning ofA German Requiem, the bass notes are repeated,^[14] here on a low D (D1).^[32]

The soloist alone sings the intimate appellation "Seele, vergiß sie nicht" (Soul, forget them not) on a simple melody followed by "Vergiß sie nicht, die Toten" (Forget them not, the dead); the first line then returns with a different melody.^[33] Throughout the piece the soloist sings only these words, in the beginning and in the repeats.^[29] The chorus, here divided into eight parts, evokes the start of the spiritual ascent, "Sieh, sie umschweben dich, schauernd, verlassen" (See, they hover around you, shuddering, abandoned), in mostly homophonic chords, markedppp,^[33] in a fashion reminiscent of Schütz.^[16]

In section B, "und in den heiligen Gluten" (and in the holy glowing), the pedal point ends.^[16] The chorus is divided into four to six parts, in more independent motion.^[34] As in works by Schütz, two or three voices often introduce new text.^[16]

The soloist sings the recapitulation of the beginning similar to the first time, again on the pedal point,^[16] but repeats both lines this time, while the chorus sings about the hovering of the dead, as before.^[35]

In section C, "und wenn du dich erkaltend ihnen verschließest" (and if you coldly close yourself to them, they stiffen), Reger usesword painting, by means of downward lines and a final decrescendo for the line "erstarren sie bis hinein in das Tiefste" (they stiffen, up to the deepest).^[16] On the word "erstarren" (stiffens), the chorus settles on a dissonant 5-part chord, held for two measures, suddenlyfortissimo with a crescendo at the end, then repeatedpianissimo, anoctave lower, motionless.^[36]

In great contrast, in "Dann ergreift sie der Sturm der Nacht" (The storm of night then grips them), a storm is depicted in dense motion of four partsimitating a theme intriplets.^[37]

In the conclusion, the soloist repeats its phrases in the first section, but this time the chorus finally joins in the words of the appellation.^[38] The soloist introduces a new musical theme on the line about not forgetting the dead. The chorus repeats these words, markedespressivo,dolcissimo, on the melody of thechorale "O Haupt voll Blut und Wunden",^[39] five stanzas of which Bach used in hisSt Matthew Passion.^[16] The melody is not repeated as in the original, but continued for half 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 Bachincluded in the Passion right after the death of Jesus. The corresponding text would then be "Wenn ich einmal soll 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 ...).^[40][41]

Reger completes the chorale setting for the chorus, without further reference to the chorale melody, while the solo voice simultaneously continues to sing "Seele, vergiß nicht die Toten, concluding with a five-note passage that descends more than an octave, from the high D to the A aneleventh below.^[42]

TheRequiem employs an orchestra 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. Reger himself wrote a version for piano.^[31]

To make the music more accessible,^[43] the composer and organistMax Beckschäfer arranged the work for voice, chorus and organ in 1985.^[44] The organ version was premiered in theMarktkirche in Wiesbaden,^[43] where Reger had played the organ himself when he studied there in the 1890s.^[4]Gabriel Dessauer conducted a project choir, later known as theReger-Chor.^[45] Beckschäfer was the organist, Ulrike Buchs the vocal soloist.^[43] The choir, expanded into the Reger-Chor-International by singers from Belgium, performed the work again in 2001 with organistIgnace Michiels fromSt. Salvator's Cathedral,Bruges, both there and inSt. Bonifatius, Wiesbaden (recorded live).^[45] They performed it a third time in 2010 to celebrate the 25th anniversary of the Reger-Chor.^[46]

TheHebbel Requiem was performed as part of theOuverture spirituelle of the 2014Salzburg Festival, along with Bruckner'sFourth Symphony, withPlácido Domingo as baritone soloist and theVienna Philharmonic conducted byDaniel Barenboim.^[47]

To mark the centenary of Reger's death in 2016, the broadcasterBayerischer Rundfunk staged a concert of theHebbel Requiem in early May, conducted byKarl-Heinz Steffens.^[24] TheBachfest Leipzig 2016 programmed several works by Reger, including the Latin Requiem fragment in the opening concert at theThomaskirche on 10 June, and theHebbel Requiem there on 17 June, along withDer Mensch lebt und bestehet andO Tod, wie bitter bist du.^[48]

In a review of a recording of choral works by Reger, Gavin Dixon said that theRequiem is "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 say 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 2002 thesis about Reger'sOp. 144:

As their composer's final completed works for chorus and orchestra,Der Einsiedler andRequiem,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]

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

• "Curriculum vitae".Max-Reger-Institute. Archived fromthe original on 28 September 2015. Retrieved3 April 2010.
• "Sechs Lieder Op. 4" (in German).Max-Reger-Institute. Retrieved17 April 2016.
• "Zehn Gesänge für Männerchor Op. 83" (in German).Max-Reger-Institute. Retrieved3 April 2016.
• "Zwei Gesänge Op. 144 / für Solostimme, gemischter Chor und Orchester" (in German).Max-Reger-Institute. Retrieved3 April 2016.
• "Requiem Op. 144b" (in German).Max-Reger-Institute. Retrieved4 April 2016.
• "Requiem WoO V/9" (in German).Max-Reger-Institute. Retrieved3 April 2016.

• Grim, William (2005).Lateinisches Requiem für Soli, Chor und Orchester, Op. 145a. Musikproduktion Höflich.
• Lenssen, Debra (2002)."Max Reger's final choral/orchestral work: a study of opus 144 as culmination within continuity".University of Cincinnati. Archived fromthe original on 20 April 2016. Retrieved10 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. Archived fromthe original(PDF) on 18 July 2011. Retrieved12 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 denc.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. StropheWenn ich einmal soll scheiden..., was aus einem Briefzitat anArthur 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. Retrieved14 March 2015.^{[dead link]}
• "Werke von Max Reger".Internationale Orgelkonzerte Wiesbaden (in German).Marktkirche, Wiesbaden. 1985.

• FitzGibbon, Katherine (2014)."Historicism and German Nationalism in Max Reger's Requiems"(PDF).The Choral Scholar.4. National Collegiate Choral Organization. Archived fromthe original(PDF) on 2 April 2015. Retrieved14 March 2015.

• Hoernicke, Richard (2001). "Wenn Freunde musizieren".Wiesbadener Tagblatt (in German).
• Hoernicke, Richard (31 August 2010). "Gelungenes Finale der Musikwochen".Allgemeine Zeitung (in German).

• Dellal, Pamela (2016)."BWV 244 – Matthäus-Passion". Emmanuel Music. Retrieved11 April 2016.
• Dixon, Gavin (2010)."Max Reger (1873-1916) / Choral Works". musicweb-international.com. Retrieved14 March 2015.
• Downes, Michael (2010)."Requiem, Op 144b". Hyperion Records. Retrieved14 March 2015.
• Eckle, Georg-Albrecht (2014)."Nur eine kleine Zeit / Max Reger's "Requiem"" (in German).Gesellschaft der Musikfreunde in Wien. Archived fromthe original on 2 April 2015. Retrieved14 March 2015.
• Eckle, Georg-Albrecht (29 April 2016)."Aus dem Reich der Toten / Max Reger und "sein" Requiem" (in German).Bayerischer Rundfunk. Retrieved7 June 2016.

• Farr, Robert J (2004)."Peter Cornelius (1824–1874)Seele, vergiss sie nicht Requiem". musicweb-international.com. Retrieved13 July 2010.
• Katzschmann, Christian."Max Reger (1873–1916)Requiem, Op. 144b (Hebbel)" (in German). musiktext.de. Archived fromthe original on 19 July 2011. Retrieved10 July 2010.

• "Max Reger: Der 100. Psalm; Der Einsiedler; Requiem (Hebbel)". AllMusic. 2000. Retrieved8 April 2016.
• "Max Reger / Requiem "Seele, vergiß sie nicht" op. 144b"(PDF). Musikproduktion Höflich. 2005. Retrieved3 April 2016.

• Requiem, song for alto or baritone, chorus & orchestra,Op. 144b atAllMusic

• "Friedrich Hebbel / Requiem".Freiburger Anthologie (in German). Freiburg University. 2016. Archived fromthe original on 18 April 2016. Retrieved4 April 2016.

• "Max Reger (1873–1916)Requiem, Op. 144b/Op. 145a/Dies irae".classics-glaucus.blogspot.com. 2009. Retrieved10 July 2010.
• "Max Reger:Requiem, Op. 83/10".Boosey & Hawkes. 2010. Retrieved10 July 2010.
• "Werke von Max Reger im Bachfest 2016" (in German).Bachfest Leipzig. Retrieved16 June 2010.
• "Max Reger, Chorstücke (1969)". Junge Kantorei. Archived fromthe original on 29 January 2019. Retrieved12 April 2016.
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• "Konzert 2014"(PDF). Salzburg Festival. Retrieved10 April 2016.

• Johann Baptiste Maximilian Reger,Requiem Survey
• Entries for theRequiem,Op. 144b onWorldCat
• "Requiem" (in German). The Lied and Art Song Texts Page. 2010. Retrieved13 July 2010.
• "Zwei Gesänge für gemischten Chor mit Orchester". The Moldenhauer Archives of theLibrary of Congress. Retrieved10 July 2010.
• Requiem nach Hebbel by Max Reger onYouTube

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