Adolf Bernhard Marx

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

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.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Adolph Bernhard Marx (1795-1866) was nearing the end of an illustrious career as a music theorist, journalist, critic, biographer, and composer when he wrote his Erinnerungen: Aus meinem Leben in late 1864.
Patrick Wood Uribe investigates the content of the Berliner allgemeine musikalische Zeitung in 1824, and how its editor, Adolph Bernhard Marx (1795-1866), used the journal to promote the music publications of its publisher, Schlesinger.
So driven was he, it appears to have caused a rupture in his friendship with a close childhood comrade, the composer Adolph Bernhard Marx. As young men, both were interested in composing oratorios and agreed to draft libretti for each other's use: Marx for Mendelssohn's choice, St.
In a similar vein, Stasov praised German musical culture in an open letter to Franz Liszt and Adolph Bernhard Marx entitled "On Several New Forms of Today's Music": [TEXT NOT REPRODUCIBLE IN ASCII.] ON SEVERAL NEW FORMS OF TODAY'S MUSIC (Letter to Franz Liszt in Weimar and to Professor Adolph Bernhard Marx in Berlin) Dear Sirs: Your names are associated with the deepest, most refined, and most poetic aspects of musical understanding that have ever appeared.
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.
Spitzer offers a detailed discussion of Adolph Bernhard Marx's compositional theory, the Formenlehre, in which the concept of melody mediates the natural and the self-conscious.
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.