Adolf Bernhard Marx

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Marx, Adolf Bernhard


Born May 15, 1795, in Halle; died May 17, 1866, in Berlin. German music historian and theorist, teacher, and composer. Doctor of philosophy (1828).

Marx studied composition under D. Turk in Halle. He completed his training under C. Zelter in Berlin (from 1820). In 1824 he founded the Berliner Allgemeine Musikalische Zeitung (Berlin General Music Journal), which he edited until 1830. In 1828, Marx became a music instructor at the University of Berlin, receiving a professorship there in 1830. He was appointed to the chair of music in 1832. At the university he laid the foundations for the systematic teaching of musicology.

Marx wrote the following fundamental works on the history, aesthetics, and theory of music: On Painting in Music (1828), Music of the 19th Century (1855), and General Music Textbook (1839, Russian translation, 3rd ed., 1893). He studied and attempted to popularize classical music, particularly the works of Beethoven and Gluck (The Life and Creative Work of Ludwig van Beethoven, vols. 1-2, 1859; Gluck and Opera, vols. 1-2, 1863). He wrote the well-known textbook Instruction in Music Composition (vols. 1-4, 1837-47), which has been published in many countries. He composed a number of orchestral, piano, and vocal pieces.

References in periodicals archive ?
So driven was he, it appears to have caused a rupture in his friendship with a close childhood comrade, the composer Adolph Bernhard Marx.
3 The best study of Marx from a pedagogical viewpoint is still Kurt-Erich Eicke's Der Streit zwischen Adolph Bernhard Marx und Gottfried Wilhelm Fink um die Kompositionslehre ('Kolner Beitrage zur Musikforschung', xlii), Cologne, 1966.
Only after 1825, says Hinrichsen, in the w ritings of Hans Georg Nageli and Adolph Bernhard Marx, did a more genuinely romantic Bach-Bild emerge, one that was strongly colored by the values of absolute music.
As Scott Burnham notes, the name Adolph Bernhard Marx has been intimately connected with the early definition of "sonata form" (he is credited with inventing the term), and this has led to his being associated with formalism - musical sterility that is the product of composition by recipe.