Reger wrote his best organ works in the period 1899-1902, with the Fantasie en Fugue about BACH and the Choral Fantasies op.52 as the highlight. Besides an extremely creative time, it was also a time of personal troubles. In 1898, Reger's family made vain attempts to bring the prodigal son back into line. In June, however, Sister Emma persuades her brother to return to the parental home to dissipate
… from alcohol and tobacco. A few years later there was another conflict with the (Catholic) family, because Reger was courting a divorced Protestant woman. Initially, this Elsa von Bercken had little love for Reger, because the man's excesses were not unknown to her. Nevertheless, both were married on December 7, 1902. The extremely ferocious Symphonic Fantasy and Fugue op. 57 was premiered that same year by Karl Straube. At that time, the turbulent play elicited just as pathological reflections as the Schönberg premieres of around 1913. However, it is known that Reger did not derive his inspiration from Freud or from absinthe, but from the Inferno of Dante's Divina Commedia. Opposite this masterpiece are the much weaker Sieben Orgelstücke op.145 from 1915-1916. Apart from oppressive nationalism, these pieces are also marred by ordinary leaf filling, as if the endless passageways were just randomly stuck together. (HJ) but to the Inferno of Dante's Divina Commedia. Opposite this masterpiece are the much weaker Sieben Orgelstücke op.145 from 1915-1916. Apart from oppressive nationalism, these pieces are also marred by ordinary leaf filling, as if the endless passageways were just randomly stuck together. (HJ) but to the Inferno of Dante's Divina Commedia. Opposite this masterpiece are the much weaker Sieben Orgelstücke op.145 from 1915-1916. Apart from oppressive nationalism, these pieces are also marred by ordinary leaf filling, as if the endless passageways were just randomly stuck together. (HJ)more