The complexity of Max Reger's music is not easy to penetrate. Hans-Peter Retzmann attempts to tackle this challenging task by developing compositional and music-esthetic questions using Reger's own words. From the interplay of Reger's compositional and aesthetic thought processes, an approach emerges that seeks to resolve the connection between music and language in order to ensure a religious content in his music even without a linguistic reference. Reger's statement about music is a musical-religious one, ultimately manifesting in the synthesis of poetic concepts within the music. His technical achievements push the boundaries of what is possible. The conception of Reger's music produces a counterpoint to conventional musical thinking and feeling through its cross-sectional nature. It continues to challenge us today to engage with it.