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Abstract
Heinrich Reimann (1850–1906) was known as one of the greatest organ virtuosi of the latter half of the nineteenth century. His professional career led him to a professorship in theory and organ and an appointment as the official organist of the Berlin Philharmonic. As a scholar, Reimann founded a Bach society, wrote a biography of Bach, and compiled folk music.
One of Reimann’s important contributions to the historical importance of German Romantic literature was his influence on his younger contemporary Max Reger (1873–1916). Hugo Riemann, the teacher of Max Reger since 1890, introduced Heinrich Reimann to Reger’s music in the spring of 1893. While Reimann was quick to acknowledge Reger’s musical prowess, Reimann also added his criticism, stating that Reger was a “real musical hothead.” Reimann further recommended to Reger the need to refine his compositional tools under the watchful care of Reger’s teacher, Riemann.
Following his critical analysis of the early Reger works, Heinrich Reimann continued to compose organ music. His most well-known piece is his Phantasie und Fuge über ‘Wie Schön Leuchtet der Morgenstern.’ This monumental chorale fantasia was finished in 1895. Upon its completion, Reimann sent a copy to Max Reger. According to Karl Straube, Reger knew this work “very well.” In 1899 Max Reger composed Zwei Choralphantasien, op. 40 which included his own chorale fantasia on Wie schön leuchtet der Morgenstern. Straube recalls that Reger’s fantasia “was intended as an answer [to Reimann’s chorale fantasia], since he was upset about Reimann’s negative opinion of his works.”
Research into the forms and musical language of Reimann’s music provides a glimpse into the newly emerging talent of Max Reger. Comparing the formal construction and musical language of Reimann and Reger demonstrates Reimann’s stylistic influence on Reger’s chorale fantasia, and his contribution to the musical language of the latter half of the nineteenth century.
