Mariä Wiegenlied op. 76 Bd. VI No. 52 (from Mariä Wiegenlied op. 76 Nr. 52)

Version for middle voice and orchestra

Instrumentiert in Jena, Ende April/Anfang Mai 1915

Performance medium
[Middle voice]; Orchestra [Flute, Oboe, Clarinet, Bassoon, French horn, Timpani 1, Timpani 2, Strings]

Work collection
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Reger-Werkausgabe Bd. II/6: Lieder mit Orchesterbegleitung, S. 130–137.
Herausgeber Christopher Grafschmidt, Claudia Seidl.
Unter Mitarbeit von Knud Breyer und Stefan König.
Verlag Carus-Verlag, Stuttgart; Verlagsnummer: CV 52.813.
Erscheinungsdatum September 2023.
Notensatz Carus-Verlag, Stuttgart.
Copyright 2023 by Carus-Verlag, Stuttgart and Max-Reger-Institut, Karlsruhe – CV 52.813.
Vervielfältigungen jeglicher Art sind gesetzlich verboten. / Any unauthorized reproduction is prohibited by law.
Alle Rechte vorbehalten. / All rights reserved.
ISMN 979-0-007-30199-6.
ISBN 978-3-89948-446-5.

Mariä Wiegenlied

Text template
First edition

Template edition

Used for comparison purposes in RWA: First edition

Copy shown in RWA: DE, Karlsruhe, Max-Reger-Institut/Elsa-Reger-Stiftung.


Note: Textvorlage: Reger besaß eine Mappe mit vierzehn handschriftlichen Texten des Dichters (lose Blätter), wohl in Abschrift (heute in den Meininger Museen/Max-Reger-Archiv). Reger kreuzte sich das Gedicht (dort ohne Titel) an.

Note: Erste Textzeile: Vorlage und Erstausgabe “im” statt (wie bei Reger) “am” Rosenhag.

Note: In den Bänden, welche die Vorlage für die Ausgewählten Gedichte gebildet haben sollen, ist das Wiegenlied (neben einigen weiteren Gedichten) nicht enthalten.

1. Composition and Publication

After Bote & Bock had published the sixth volume of Reger’s Schlichte Weisen in October 1912 (subtitled “Aus Christas und Lottis Kinderleben”, “From the child’s life of Christa and Lotti”1), Mariä Wiegenlied became one of Reger’s most popular songs. So in late April 1915, he took the opportunity to offer his publisher a new arrangement of the work. He promised to orchestrate this song “so that it can even be performed by orchestra alone, without a solo voice;2 though of course the effect will be better with voice. The orchestral forces will be very small, so that any orchestra will be able to do it.” (Postcard of 29 April 1915 to Hugo Bock)

Bote & Bock accepted his offer, Reger confirmed receipt of his fee of 100 marks on 4 May, and returned the corrected proofs on 5 June. We have no details about when the first edition was published.3 The title page lists all six of Reger’s orchestrated songs that were published by Bote & Bock.4


Translation by Chris Walton.

Christa and Selma Charlotte were Reger’s adopted daughters.
One performance that might have taken place without a solo voice was on 16 October 1927 in Zurich, on the occasion of a charity event in favour of the victims of a flood disaster in eastern Switzerland (see Neue Zürcher Zeitung vol. 148 [1927], no. 1731 [15 October], morning edition, p. 8.).
The publication of this orchestral song was announced in the July 1915 issue of Hofmeister’s Musikalisch-literarischer Monatsbericht über neue Musikalien, musikalische Schriften und Abbildungen (p. 106).
At the close of the year, Bote & Bock commissioned Reger to make two further arrangements of his Mariä Wiegenlied: for piano (with underlaid text) and for voice and organ with violin ad lib. respectively. These were later followed by innumerable editions with the text in foreign languages plus third-party arrangements for all manner of instrumental combinations.

1. Early reception

In the Berlin concert to commemorate Reger’s 50th birthday in April 1923, Lula Mysz-Gmeiner sang six of his orchestral songs, though only Mariä Wiegenlied is mentioned by name; it was also encored “by popular request”. (Signale für die Musikalische Welt) And at a Reger evening in Bonn in early February 1939, Johanna Egli had to sing the Wiegenlied “no less than three times” on account of “the grateful appreciation and insistence of the audience”. (General-Anzeiger für Bonn und Umgegend) However, Walter Tetzlaff found it incomprehensible “that ‘An die Hoffnung’, which is magnificent in content and was magnificently performed, was met with rather cool applause by the standards of Bonn, instead of compelling a repeat performance that would have intensified the experience; by contrast, ‘Mariä Wiegenlied’ earned thunderous applause for an encore, though in the context of Reger’s core oeuvre it represents merely a wood shaving that has fallen from the carpenter’s bench while he is at work”. (Westdeutscher Beobachter)


Translation by Chris Walton.

1. Stemma

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

2. Quellenbewertung

Der Edition liegt als Leitquelle der Erstdruck zugrunde. Als Referenzquelle wurde der Erstdruck des Klavierlieds herangezogen, in seltenen Fällen auch dessen Stichvorlage, die Reger zum Zeitpunkt der Bearbeitung jedoch nicht vorlag.

3. Sources

  • Erstdruck
  • Erstdruck
Object reference

Max Reger: Mariä Wiegenlied op. 76 Bd. VI No. 52 (from Mariä Wiegenlied op. 76 Nr. 52), in: Reger-Werkausgabe,, last check: 13th April 2024.


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