ABSTRACT
Intermittently over the course of their careers, both Max Reger and Karl Straube concerned themselves with what might broadly be termed the editing of music. Whereas neither Reger nor Straube became involved with scholarly editing, Reger had had occasion to observe firsthand Riemann's editorial procedure during the 1890s, and during the same period he developed a lively interest in transcriptions in the manner of Busoni, whom he had befriended in 1896. Straube's editions appeared over the course of nearly fifty years, and they are valuable not only because they supply details of changing performance norms during that period, but also because the repertories Straube chose to edit presumably reflect his views about what was important to a systematically developing history of organ music. Reger's organ music that its earliest proponent was from 1903 to 1918 organist of the Bach church and, by the time the 1919 edition appeared, successor to Bach in the cantorate.
