Editing Max Reger (section)

== Reception ==
In 1898 [[Caesar Hochstetter]], an arranger, composer and critic, published an article entitled "Noch einmal Max Reger" ("Max Reger once again") in a music magazine (''Die redenden Künste'' 5 no. 49, pp.&nbsp;943 f). Caesar recommended Reger as "a highly talented young composer" to the publishers. Reger thanked Hochstetter with the dedications of his piano pieces ''Aquarellen'', [[Max Reger works#25|Op. 25]], and ''Cinq Pièces pittoresques'', [[Max Reger works#34|Op. 34]].{{sfn|Biography|2012}}

Reger had an acrimonious relationship with [[Rudolf Louis]], the music critic of the ''Münchener Neueste Nachrichten'', who usually had negative opinions of his compositions. After the first performance of the Sinfonietta in A major, [[Max Reger works#90|Op. 90]], on 2 February 1906, Louis wrote a typically negative review on 7 February. Reger wrote back to him: "''Ich sitze in dem kleinsten Zimmer in meinem Hause. Ich habe Ihre Kritik vor mir. Im nächsten Augenblick wird sie hinter mir sein!''" ("I am sitting in the smallest room of my house. I have your review before me. In a moment it will be behind me!").{{sfn|Slonimsky|1965}}{{sfn|Kirshnit|2006}} Another source has the German composer [[Sigfrid Karg-Elert]] as the targeted critic of this letter.{{sfn|Schonberg|1973}}

[[Arnold Schoenberg]] was an admirer of Reger's. A letter he sent to [[Alexander von Zemlinsky]] in 1922 states: "Reger...must in my view be done often; 1, because he has written a lot; 2, because he is already dead and people are still not clear about him. (I consider him a genius.)"{{sfn|Schonberg|1973}}