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Introduktion und Passacaglia op. 63/5-6
Praeludium op. 59/1
Intermezzo op. 59/3
Präludium und Fuge op. 63/1–2
Melodia op. 59/11
Phantasie und Fuge über B–A–C–H op. 46
TT: 76’49

Recorded with Erik Sikkema's ULSI technology. See
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Introduktion und Passacaglia (ohne Opuszahl)
Canzone, op. 65/9
Toccata und Fuge, op. 59/5–6 (Straube edition 1919)
Benedictus, op. 59/9 (Straube edition 1912)
Vater unser im Himmelreich, op. 67/39
Symphonische Phantasie und Fuge, op. 57
TT: 79’02

Recorded with Erik Sikkema's ULSI technology. See
Watch the Official Release Video
Read the reviews HERE


The Straube Code

Max Reger used double-beat metronome notation until about 1908. As a result, it is generally believed that the tempos indicated in Karl Straube’s Reger editions from 1912 and 1919 are about twice as slow as those of the original editions. Shedding new light on that apparent discrepancy, this study offers new perspectives on the controversial theory of metronome notations set forth by Willem Retze Talsma in 1980.

Note: The parts about the tempos in the fugue of Max Reger’s Symphonische Phantasie und Fuge op. 57 (p. 28) and of the Intermezzo and Capriccio from op. 59 are no longer valid. The conclusions are rectified in the booklets of Henrico Stewen's Reger CDs.

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Henrico Stewen 2013_1
© 2014 Henrico Stewen