In Berlin on today’s date in 1915, the prolific German composer Max Reger conducted the premiere performance of what would become his most popular orchestral work. Like Bach, Reger was a master of counterpoint and the fugue, and, like Beethoven, loved writing variations. Reger’s “Variations and Fugue on a Theme of Mozart” starts off simple enough, quoting a familiar theme from a Mozart’s Piano Sonata. Some thirty minutes later, the simple theme develops into massive fugue. It’s all very grand and clever if you like it, or bombastic and tiresome if you don’t. The witty Nicolas Slonimsky, in his “Music Since 1900,” described it as follows: “Mozart’s ingenuous theme… is subjected to torturous melodic anamorphoses, contrapuntal contortion, canonic dislocation, rhythmic incrustation, and harmonic inspissation.” To save you the trouble of Googling the definition of “inspissation,” let’s just say it’s not a condition you would wish on anybody! Whether you’re a fan or not, “Variations and Fugue on a Theme of Mozart” is quintessential Max Reger, and one is tempted to say, “What did you expect? It’s Reger to the Max!”