1875, he conducted a performance in the Musikverein of an orchestral arrangement by Bernhard Scholz of the prelude in E flat BWV 552/1. In 1896, a year before he died, Brahms composed his own set of eleven chorale preludes for organ, Op.122. Like Schumann, who turned to Bach counterpoint as a form of therapy in 1845 during his recovery from mental illness, Brahms also viewed Bach's music as salutory during his final illness. As Brahms' friend and biographer Max Kalbeck reported: Max Reger was a composer whose dedication to Bach has been described as a "monomaniacal identification" by the musicologist Johannes Lorenzen: in letters he frequently referred to "Allvater Bach". During his life, Reger arranged or edited 428 of Bach's compositions, including arrangements of 38 organ works for piano solo, piano duet or two pianos, starting in 1895. At the same time he produced a large number of his own organ works. Already in 1894, the organist and musicologist Heinrich Reimann, reacting to modernist trends in German music, had encouraged a return to the style of Bach, stating that, "Beyond this style there is no salvation ... Bach becomes for that reason the criterion of our art of writing for the organ." In 1894–1895 Reger composed his first suite for organ in E minor which was published in 1896 as his Op.16 with a dedication "To the Memory of Johann Sebastian Bach". The original intention was a sonata in three movements: an introduction and triple fugue; an adagio on the chorale Es ist das Heil uns kommen her; and a passacaglia. In the final version, Reger inserted an intermezzo (a scherzo and trio) as the third movement and expanded the adagio to contain a central section on the Lutheran hymns Aus tiefer Not and O Haupt voll Blut und Bunden. In 1896, Reger sent a copy of the suite to Brahms, his only contact. In the letter he asked permission to dedicate a future work to Brahms, to which he received the reply, "Permission for that is certainly not necessary, however! I had to smile, since you approach me about this matter and at the same time enclose a work whose all-too-bold dedication terrifies me!" The overall form of the suite follows the scheme of the eighth organ sonata Op.132 (1882) of Joseph Rheinberger and the symphonies of Brahms. The final passacaglia was a conscious reference to Bach's organ passacaglia