Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Nachtlied (Night Song) Op. 138, No. 3, is a sacred motet for unaccompanied mixed choir by Max Reger. The German text is a poem by Petrus Herbert, beginning "Die Nacht ist kommen" (The night has come). The piece is in B minor and scored for five voices SATBB. Composed in Meiningen in 1914, it was published in 1916 after Reger's death as the third of Acht geistliche Gesänge (Eight Sacred Songs).

This is a list of notable events in music that took place in the year 1888.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916) was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, a musical director at the Leipzig University Church, a professor at the Royal Conservatory in Leipzig, and a music director at the court of George II, Duke of Saxe-Meiningen. Reger first composed mainly Lieder, chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as the popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915).

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916) was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, a musical director at the Leipzig University Church, a professor at the Royal Conservatory in Leipzig, and a music director at the court of George II, Duke of Saxe-Meiningen. Reger first composed mainly Lieder, chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as the popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915).

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Zwei Gesänge (Two Songs), Op. 1, are two Lieder for baritone and piano composed by Arnold Schoenberg in fin-de-siècle Vienna, each setting to music a poem by Karl Michael von Levetzow. The songs approached the customary limits of the Lied genre in their length, depth of expression, density of texture, and transcription-like piano writing, foreshadowing Schoenberg's later innovations, notably in his monumental work, Gurre-Lieder. Like many of Schoenberg's early works, they reflect the dual influence of Johannes Brahms and Richard Wagner, two composers often considered opposites in Romantic music. In 1900, Eduard Gärtner (baritone) and Alexander Zemlinsky (piano) premiered them at Vienna's Bösendorfer-Saal. Audience reception was negative, though Alma Mahler was present and gave a more balanced assessment. In 1903 or 1904, Max Marschalk published them in Berlin under the full title Zwei Gesänge für eine Baritonstimme und Klavier (Two Songs for a baritone voice and piano). Schoenberg dedicated them to Zemlinsky.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916) was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, a musical director at the Leipzig University Church, a professor at the Royal Conservatory in Leipzig, and a music director at the court of George II, Duke of Saxe-Meiningen. Reger first composed mainly Lieder, chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as the popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915).

"Ich hab die Nacht geträumet" (I dreamed last night) is a German folk song. It is a melancholic song that tells of a disturbing dream foreshadowing death – a rosemary tree in the garden, falling leaves, and a jar broken to pieces and bleeding a red liquid. In Northern Germany, rosemary was planted in graveyards, and mourners at funerals would sometimes wear rosemary stalks.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916) was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, a musical director at the Leipzig University Church, a professor at the Royal Conservatory in Leipzig, and a music director at the court of George II, Duke of Saxe-Meiningen. Reger first composed mainly Lieder, chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as the popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915).

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

"Ich hab die Nacht geträumet" (I dreamed last night) is a German folk song. It is a melancholic song that tells of a disturbing dream foreshadowing death – a rosemary tree in the garden, falling leaves, and a jar broken to pieces and bleeding a red liquid. In Northern Germany, rosemary was planted in graveyards, and mourners at funerals would sometimes wear rosemary stalks.

Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916) was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, a musical director at the Leipzig University Church, a professor at the Royal Conservatory in Leipzig, and a music director at the court of George II, Duke of Saxe-Meiningen. Reger first composed mainly Lieder, chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as the popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915).

Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916) was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, a musical director at the Leipzig University Church, a professor at the Royal Conservatory in Leipzig, and a music director at the court of George II, Duke of Saxe-Meiningen. Reger first composed mainly Lieder, chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as the popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915).

Kurt Julian Weill (; German: [vaɪl]; March 2, 1900 – April 3, 1950) was a German-born American composer active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he wrote his best-known work, The Threepenny Opera, which includes the ballad "Mack the Knife". Weill held the ideal of writing music that served a socially useful purpose, Gebrauchsmusik. He also wrote several works for the concert hall and a number of works on Jewish themes. He fled Nazi Germany in 1933, arriving in the United States two years later. Settling in New York, he made a substantial contribution to American musical theater through works such as Lady in the Dark and Street Scene.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

"An die Hoffnung" (To Hope), Op. 124, is a Lied for alto or mezzo-soprano and orchestra by Max Reger, setting a poem by Friedrich Hölderlin. He composed it in Meiningen in 1912 and dedicated it to Anna Erler-Schnaudt, the singer of the first performance. It was published by Edition Peters the same year.

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.

This article presents a complete catalog of original compositions by Ferruccio Busoni, including a large number of early works, most of which remain unpublished. The earliest preserved pieces were written when he was barely seven years old. Over 200 of the total of 303 original compositions were produced before the age of twenty. For a more selective list of recorded works, see Ferruccio Busoni discography. Busoni also produced a number of cadenzas, transcriptions, and editions. For a complete list see List of adaptations by Ferruccio Busoni.

Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916) was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, a musical director at the Leipzig University Church, a professor at the Royal Conservatory in Leipzig, and a music director at the court of George II, Duke of Saxe-Meiningen. Reger first composed mainly Lieder, chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as the popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915).

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ – one of them is given in two versions – by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig. Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. A project to complete the missing chorales called "The Orgelbüchlein Project" has been launched in the 21st century, where the chorales are written in modern styles. This project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar. Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form. A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling. Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

Johannes Brahms (; German: [joˈhanəs ˈbʁaːms] ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures. He adapted the traditional structures and techniques of a wide historical range of earlier composers. His œuvre includes four symphonies, four concertos, a Requiem, much chamber music, and hundreds of folk-song arrangements and Lieder, among other works for symphony orchestra, piano, organ, and choir. Born to a musical family in Hamburg, Brahms began composing and concertizing locally in his youth. He toured Central Europe as a pianist in his adulthood, premiering many of his own works and meeting Franz Liszt in Weimar. Brahms worked with Ede Reményi and Joseph Joachim, seeking Robert Schumann's approval through Joachim. He gained both Robert and Clara Schumann's support and guidance. Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer. Though innovative, his music was considered relatively conservative within the polarized context of the War of the Romantics, an affair in which Brahms regretted his public involvement. His compositions were largely successful, attracting a growing circle of supporters, friends, and musicians. Eduard Hanslick celebrated them polemically as absolute music, and Hans von Bülow even cast Brahms as the successor of Johann Sebastian Bach and Ludwig van Beethoven, an idea Richard Wagner mocked. Settling in Vienna, Brahms conducted the Singakademie and Gesellschaft der Musikfreunde, programming the early and often "serious" music of his personal studies. He considered retiring from composition late in life but continued to write chamber music, especially for Richard Mühlfeld. Brahms's contributions and craftsmanship were admired by his contemporaries like Antonín Dvořák, whose music he enthusiastically supported, and a variety of later composers. Max Reger and Alexander Zemlinsky reconciled Brahms's and Wagner's often contrasted styles. So did Arnold Schoenberg, who emphasized Brahms's "progressive" side. He and Anton Webern were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its developing variation. It remains a staple of the concert repertoire, continuing to influence composers into the 21st century.

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.

Johann Baptist Joseph Maximilian Reger (19 March 1873 – 11 May 1916) was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, a musical director at the Leipzig University Church, a professor at the Royal Conservatory in Leipzig, and a music director at the court of George II, Duke of Saxe-Meiningen. Reger first composed mainly Lieder, chamber music, choral music and works for piano and organ. He later turned to orchestral compositions, such as the popular Variations and Fugue on a Theme by Mozart (1914), and to works for choir and orchestra such as Gesang der Verklärten (1903), Der 100. Psalm (1909), Der Einsiedler and the Hebbel Requiem (both 1915).

Max Reger was a German composer of the late-Romantic period. His works are initially listed by Opus number (Op.), followed by works without Op. number (WoO). Other features shown are translation of titles, key, scoring, year of composition, genre, information about texts and their authors, a link to the Max-Reger-Institute, which provides detailed information about times of composition, performance and publishing, and a link to the free score when available.