Haus- und Kirchenmusik op. 79

Compositions op. 79c

for voice and piano

  • No. 1 Abend

    Text: Theodor Schäfer

  • No. 2 Um Mitternacht blühen die Blumen

    Text: Maria Stona

  • No. 3 Volkslied

    Text: Marie Itzerott

  • No. 4 Friede

    Text: Josef Huggenberger

  • No. 5 Auf mondbeschienenen Wegen

    Text: Josef Huggenberger

  • No. 6 Die Glocke des Glücks

    Text: Anna Ritter

  • No. 7 Erinnerung

    Text: Theodor Schäfer

  • No. 8 Züge

    Text: Josef Huggenberger

Komponiert in Weiden und München, Dezember 1900 bis Oktober 1901

Performance medium
Voice; Piano

Work collection
  • Haus- und Kirchenmusik op. 79
    Other parts:
    • Compositions op. 79a for piano
    • Compositions op. 79b for organ
    • Compositions op. 79d for violin and piano
    • Compositions op. 79e for cello and piano
    • Compositions op. 79f for mixed voice unaccompanied choir
    • Compositions op. 79g for three-part women’s or children’s unaccompanied choir
Original work
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  • -


Reger-Werkausgabe Bd. II/3: Lieder III, S. 2–18.
Herausgeber Knud Breyer und Stefan König.
Unter Mitarbeit von Christopher Grafschmidt und Claudia Seidl.
Verlag Carus-Verlag, Stuttgart; Verlags- und Plattennummer: CV 52.810.
Erscheinungsdatum 2022
Notensatz Carus-Verlag, Stuttgart.
Copyright 2022 by Carus-Verlag, Stuttgart and Max-Reger-Institut, Karlsruhe – CV 52.810.
Vervielfältigungen jeglicher Art sind gesetzlich verboten. / Any unauthorized reproduction is prohibited by law.
Alle Rechte vorbehalten. / All rights reserved.
ISMN M-007-29722-0
ISBN 978-3-89948-432-8

1. Composition and Publication

Between December 1900 and September 1902 Reger submitted a total of 38 musical inserts to the Blätter für Haus- und Kirchenmusik, which was published by Hermann Beyer & Söhne in Bad Langensalza; 25 of these were published between 1901 and 1904.1 As well as a reliable source of income, the publication format above all guaranteed that his name became widely known. With his submissions Reger contributed to important genres of chamber music, sacred domestic music and music for amateurs: piano and organ pieces, pieces for violin or cello and piano, choruses for different scorings, and not least, songs. (see Regers Musikbeilage in Zeitschriften) Reger’s contact was the publisher’s editor Ernst Rabich, who had invited him “at the end of October 1900 [...] to contribute” (Erinnerungen an Reger) to the periodical. Rabich subsequently championed Reger’s work in many ways both as a music critic and as conductor of the Gotha Liedertafel.2

Reger conformed to the concept of “easy performability with a certain nobility”3, formulated for music inserts when the periodical was founded in 1897. When he sent his first manuscript to Rabich on 2 December 1900, with the song Um Mitternacht blühen die Blumen, he explained: “[...] I have intentionally chosen an easier song this time, so as not to “offend” the subscribers of your highly esteemed periodical, who are less prepared for the “most modern”. The accompaniment lies extremely comfortably under the hand. (letter)”

By October 1901 a further seven songs followed,4 as well as many other inserts, which formed an easy counterpart to the complex Fifteen Songs op. 55 composed at the same time.

Reger pressed for a prompt publication of his contributions. In order to enable the publication of Um Mitternacht blühen die Blumen in the January 1901 number of the monthly periodical, as an exception he asked Rabich to undertake checking the proofs. (see letter to Ernst Rabich dated 2 December 1900) By contrast, the publication of the other songs occurred at greater intervals than originally anticipated by the composer: only the Volkslied was published in 1901 (August), Abend (Rabich: “a glorious song”; letter from Rabich dated 6 November 1901 to the director of the publishing house Friedrich Mann), Friede and Auf mondbeschienenen Wegen only in 1903, and Die Glocke des Glücks in 1904. The songs Erinnerung5 and Züge were not published. The reasons for the delay could have been the production costs of music inserts, which the small publisher had to budget for, as well as Reger’s pace of work; he wrote much more than could be published month by month.6

In January 1901 Reger enquired after in-house “special editions” (letter dated 19 January 1901 to Ernst Rabich), in order to sound out the opportunities for a secondary exploitation of his works in another publication format. He probably had the series Für’s Haus in mind, a Collection of dignified compositions mainly by modern masters launched by the publisher in 1898, in which predominantly piano pieces and songs which had previously been issued as inserts, were newly published in the form of individual bibliophilic editions. Volkslied and the songs Abend and Um Mitternacht blühen die Blumen which complemented its content were ultimately included in this series. They were finally published c. March 19027 and Christmas 19038 as numbers 111 and 146. In April 1904 the publisher Beyer & Söhne finally ven- tured to publish all Reger’s works composed to date for the Blätter für Haus- und Kirchenmusik – including those previously omitted – together and asked Reger to give them opus numbers for this. However, Reger was anxious to make “all opuses as weighty as possible” and did not want to use up several work numbers for these short compositions. Instead of which he suggested a publication under the cumulative opus number 79 with a corresponding collective titlepage” (letter dated 7 April 1904 to Ernst Rabich). He divided the works according to scor- ing into sections a–e (later to g) and allocated the eight songs to section c. This was in turn divided into three books, resulting in numbers 182–184 within the continuing series Für’s Haus and was available on sale in late 1904.9 Whereas Abend, Um Mitternacht blühen die Blumen and Volkslied (nos. 1–3) were thus published for the third time, Erinnerung and Züge appeared as first editions within op. 79 (nos. 7 and 8).10

When the Leipzig firm of Paul Zschocher published Zehn Liebeslieder by Reger in November 1910, alongside the music inserts from the Neuen Musik-Zeitung (WoO VII/23–29) and the Schlummerlied WoO VII/33 (see below), Um Mitternacht blühen die Blumen and Volkslied were also included in the collection. (see composition of WoO VII/23–29) Reger made some small additions and checked the proofs,11 but did this so superficially that a few mistakes in the new engraving remained undetected (see Quellenbewertung). Reger set the poem Friede, one of three by the Upper Bavarian poet Josef Huggenberger which were set in op. 79c, a second time – in the second volume of Schlichte Weisen op. 76 of 1905.


Translation by Elizabeth Robinson.

By 1911 four more were published, each for a second time (see below).
In a first evaluation of Reger’s works Rabich wrote in March 1901: “He possesses what many moderns lack, a feeling and facility for melody, for generous part-writing” and commented on Hugo Riemanns’s assessment from the Geschichte der Musik seit Beethoven (Max Reger seems to be developing into an important composer” [ibid., Stuttgart 1901, p. 628]) with the words: “We do not for a moment doubt the accuracy of this prophesy, and are even of the opinion that it has largely been met.” (Ernst Rabich, »Max Reger«, in Blätter für Haus- und Kirchenmusik). – Reger dedicated his Six Burlesques for piano duet op. 58 written shortly afterwards to Rabich in thanks for his journalistic efforts.
Letter from Ernst Rabich dated 26 August 1893 to the director of the publish- ing house Friedrich Mann, as cited in Stefan König, “Von den Zeitschriftenbeilagen zum Opus 79. Reger und der Verlag Hermann Beyer & Söhne (Beyer & Mann). Mit einer Edition von vier Briefen Ernst Rabichs an Friedrich Mann”, in Mitteilungen der Internationalen Max-Reger-Gesellschaft, ed. Almut Ochsmann, 24th Vol. (2013), pp. 21–29; there: p. 23.
Dates of submission: Volkslied on 29 December 1900, Die Glocke des Glücks on 19 January 1901, Abend, Friede and Erinnerung on 12 July, and Auf mondbeschienenen Wegen and Züge on 24 October.
Of the three songs which he received from Reger four days earlier, Rabich regarded Abend and Friede as suitable for the periodical, but he passed over Erinnerung (see letter dated 16 July 1901 to Friedrich Mann).
Although the composer was highly regarded in the publishing house, he was not yet considered “properly settled in his style”. Rabich substantiated his assessment: “Reger’s art places high demands on the technique and intellect of the performer or singer, he does not yet have an audience.” (letter from Rabich dated 16 July 1901 to Mann.
See Reger’s letter dated 25 March 1902 to the publisher Hermann Beyer & Söhne.
See the dating of the dedication copy for Bertha von Seckendorff, Max-Reger- Institut, Karlsruhe, shelf number: Mus. DE. 21.
The organ pieces op. 79b were published by August 1904 at the latest (see Hofmeisters Musikalisch-literarischer Monatsbericht über neue Musikalien, musikalische Schriften und Abbildungen 76 Jg., no. 8 [August 1904], p. 419), the songs op. 79c probably followed shortly afterwards.
Erinnerung was subsequently published in May 1907 also as a periodical insert in the Blätter für Haus- und Kirchenmusik.
He calculated “a fee of 50 M for [his] trouble” (letter dated 25 June 1910 to Paul Zschocher, last listed and cited in Autographenhandlung J. A. Stargardt, Marburg, Katalog 560 [November 1962]: Autographen aus verschiedenem Besitz, lot 1182, p. 91).

1. Reception

At present, there are no records of performances in Reger's time.

1. Stemma

Die in Klammern gesetzten Quellen sind verschollen.
Die in Klammern gesetzten Quellen sind verschollen.

2. Quellenbewertung

Der Edition liegen als Leitquellen die Erstdruck als Sammlung (mit Opuszahl 79c) zugrunde. Sie wurden von denselben Platten gezogen wie die Erstdrucke als Zeitungsbeigaben (Nr. 1–7) bzw. die Erstdrucke der Reihe »Für’s Haus« (Nr. 1–3) und sind mit Ausnahme der Nr. 6, in die Korrekturen eingearbeitet sind, jeweils mit diesen identisch.

Die Revisionen, die Reger 1910 in den Liedern Nr. 2 und 3 für deren Neudruck innerhalb der »Liebeslieder« vornahm, wurden in der RWA berücksichtigt. Jedoch waren beim Stich dieser Ausgabe einige Fehler entstanden, die dem Komponisten entgangen waren. Die transponierte Ausgabe der »Liebeslieder« für tiefe Stimme entstand vermutlich ohne Regers Beteiligung und war somit für die Edition der Nr. 2 und 3 nicht relevant.

3. Sources

Quellen Zeitschriftenbeigaben
  • Stichvorlagen (verschollen)
  • Erstdruck Nr. 1 (ED-Z)
  • Erstdruck Nr. 2 (ED-Z)
  • Erstdruck Nr. 3 (ED-Z)
  • Erstdruck Nr. 4 (ED-Z)
  • Erstdruck Nr. 5 (ED-Z)
  • Erstdruck Nr. 6 (ED-Z)
  • Erstdruck Nr. 7 (ED-Z)
Quellen Reihe »Für's Haus«
  • Erstdruck Nr. 1 und 2 (ED-E)
  • Erstdruck Nr. 3 (ED-E)
Quellen als Sammlung
  • Erstdruck Heft I (Nr. 1-2) (ED-S)
  • Erstdruck Heft II (Nr. 3-5) (ED-S)
  • Erstdruck Heft III (Nr. 6-8) (ED-S)
Quellen Neudruck Nr. 2, 3, revidierte Ausgabe
  • Originalfassung (ND-rev)
  • Transponierte Fassung (ND-transp)

Weiterlesen in der RWA

Object reference

Max Reger: Compositions op. 79c, in: Reger-Werkausgabe,, last check: 28th March 2023.


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