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sometimes said, would be inscribed in each human being, even when, in our present time, it is not yet in our personal consciousness. To his F-minor symphony he wrote in 1962 to Peter von
Siemens: "I may perhaps suggest, that just this 2nd symphony is not a composition but a Mysterium - also for me! ... Like a prospective mother I experienced the process of bringing it forth, only not so unconsciously; experienced, how those world powers which create mankind, wanted to reveal themselves in an audible way." There it showed that he was on a spiritual path as a learner. He spoke, as also others of his generation, from an active, new beginning in music which had to be consciously formed and which would lead far above the present classical heights. It was a matter of entering a New World – a source of everything creative, which - not only for music - could be reached under certain conditions. From this come the consequence, stringency and intelligence of his symphonic language.
49:, where his father was First Bassist in the orchestra of the State Opera House. Martin was a quiet child, both alert and dreamy, always full of questions. With his great gift for everything technical, it was generally assumed he would become an engineer and for this reason he attended the secondary modern High School (Oberrealschule, today: Hans Sachs Gymnasium). But already early, at about five years of age, he began to play everything on the piano by heart. He had the absolute hearing. He didn't want to learn any notes, but after conflicts with his father he accepted them as a mean of the representation of music. Later his strength lay in
239:"The composer has radically renewed the form of the genre without makeng perception more difficult" "All the more astonishing was Scherber's symphony for me: it is modern and at the same time not modern, it is timeless. Only a great spirit could ignore, in total command of the situation, the usual ways of 'modernizing' the musical language, and out of his own depths form a mode of expression which has nothing to do with the unmusical experiments of the century, while still sounding absolutely original."
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For
Scherber, each tone was an inner act, a free deed – and no intellectual, emotional or instinctive action connected it with other tones. He moved in the world of tone which he opened up as a discoverer does with a new continent, with all its happenings. He loved music and lived it—music which, he
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No.1 in D minor (written in 1938). Years of experience as a soldier (1940-46 military service: anti-aircraft-artillery on railway, music corps, medical service, prison camp 'Munsterlager') in World War II stirred him for a long time. So one can see the 2. Symphony in F minor (1951–1952), and the 3.
53:. He seemed to be immediately at home in music. At the age of thirteen he made his first compositions. At this time, he was having advanced piano lessons with the Nuremberg opera conductor, Karl Winkler. He made his first public appearances as a pianist in 1922. In composing and improvising he felt
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At the end of May 1970, during a walk, he was struck by a drunken driver and thrown through the air. In this way he was robbed of his physical faculties to continue with his musical work and confined over years to a wheelchair. At the beginning of 1974 he died from the consequences of the crash.
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For
Scherber, the symphony in its universality matured through the centuries, was the historic resounding of human striving to consciously partake in the processes of world creation. Consistently, Scherber's symphonies show a relationship with the works and intentions of the great pacemakers of
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for which he received a stipendium. At the same time he was studying philosophy. Here he also occupied himself with basic theoretical questions of knowledge, that is, the integration of an active selfconsciousness within a consciousness for the world. In accordance with his nature, this process
333:
Symphony No. 3 in b-minor (3. Symphonie in h-moll durch Martin
Scherber). German Philharmonic Orchestra Rhineland-Palatinate (Deutsche Staatsphilharmonie Rheinland-Pfalz), Ludwigshafen. Conductor: Elmar Lampson. Publisher: Peermusic Classical, Hamburg. Label: col legno, Wien-Salzburg, Austria,
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The composer had intended to publish his symphonies only after his death. But in 1969 the idea was brought to
Scherber to do it sooner. In this way the symphonies appeared in Nuremberg as immediate contributions to Albrecht-DĂĽrer-Year 1971 (500th Anniversary of birth).
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In the organic symphony forms conceived by
Scherber live, rather hidden, new contents. Without wanting to go the inner way from 'Idea' or 'Emotion' and so on, to 'spiritual beinghood', the standards are lacking. The musical moving force for the new qualities become the
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through taking in musical elements from as many cultures as possible, appropriate for the scientific-technical-industrial civilization of the whole world. Next to this, many composers continued in the style of composition usual until now.
201:"The music is too much out of time. And that it uses no appropriate, conformist tone language, a language to be seriously understood today, seems to me its greatest mistake, indeed, and may be a fatal one. It is an absolute anachronism."
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Symphony No. 2 in f-minor (2. Symphonie in f-moll durch Martin
Scherber). Russian Philharmonic Orchestra Moscow. Conductor: Samuel Friedmann. Publisher: Bruckner-Kreis NĂĽrnberg. Label: Cascade Media, Staufen im Breisgau, Germany
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217:"Thank you very much for your appreciative comments on my book 'Talks about music' Your piano arrangement seems to me to be true and sensitive - and that is the best thing one can say of a piano arrangement."
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He also composed instrumental music, works for the choir, songs and pieces for the piano. To this belonged the "ABC", a piano cycle in which he attempts to catch the mood of German sounds of speech.
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Symphony in B minor (1952–1955), which followed this directly, as a more important continuation of his musical path which began with the D minor
Symphony. The composer called them '
365:; Various songs. Bratislava Symphony Orchestra. Conductor: Adriano (symphony) / Thomas Heyer & Hedayet Djeddikar (songs). Sterling CDS1113-2. World Premiere Recording, 2018.
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and choir leader. He withdrew from the public scene in May 1933. From then on he lived as free-lance composer and music teacher again in the city of his birth.
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and chance compositions. They wanted to replace all the usual rules for the buildup of music with own ways of treatment. Beyond this, they strove to create a
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merged totally with his artistic life. Under this double aspect his biography appears in a special light. In
September 1929 he took a position as
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61:, as he called it. From then on he tried to find a more accurate foundation for these experiences which were at first puzzling for him.
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29:(16 January 1907 – 10 January 1974) was a German composer and the creator of what he described as "metamorphosis symphonies".
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Henning Kunze: Booklet 3. Symphonie in h-moll durch Martin
Scherber, p. 12, Peermusic Classical/col legno, Bad Wiessee, 2001
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434:, Periodical 'Die Drei' 9/1990, Publishers Freies Geistesleben, Stuttgart (1990) S. 676-687, refers to the 2nd symphony
233:"...as profounnd and wide as the sea, nowhere fabricated, always interesting, never intellectual - and always alive..."
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447:- Johannes Brahms, Giacomo Puccini, Richard Strauss, Engelbert Humperdinck, Max Bruch and Edvard Grieg; Citadel 1998,
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who were composing in the fifties. The latter experimented with technical and electronic media, which led to
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57:. He could step out of his everyday consciousness into an independent, more awake consciousness. He stepped
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181:(Hans Börnsen, 1957, after the première of the 2nd symphony, Archive of Bruckner-Kreis Nuremberg: A-BRK-N)
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Symphony No. 3 in B minor (1952–55), WP: 1 December 2019, Barcelona; Conductor: Christoph Schlüren
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Symphony No. 1 in D minor (1938), world premiere: 11 March 1952, LĂĽneburg; Conductor: Fred ThĂĽrmer
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integrated catalogue - Online catalogues of printed and electronic resources - UK - London.
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503:- Composers and their works, Goldmann Verlag/Schott's Söhne München 1981, TB 33055, P. 33,
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Symphony No. 2 in F minor (1951–52), WP: 24 January 1957, Lüneburg; Conductor: Fred Thürmer
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And this has only sense in our day, when it can produce 'content' through experience.
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symphonic tone. Could one not hear ever and again from composers, not only from
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Scherber was born as the third child of Marie and Bernhard Scherber in
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275:"Das ABC - Stücke für Klavier"; ABC - 31 Pieces for Piano (1938–63).
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229:(Siegfried Horvath, in the fifties, to the 1st symphony, A-BRK-N)
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Choirs a capella and choirs with piano or orchestra (1937/38)
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which centralize everything with their weaving metamorphoses
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and strict rhythms, as also the dissonances and harmonies.
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241:(George Balan, about the 3rd symphony, in 2004, A-BRK-N)
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Scherber moved in a different spiritual sphere from the
346:, Order-No. 05116. World Premiere Recording - 2010.
100:The composer of Metamorphosis-Symphonies, 1951–55.
338:; WWE 1CD 20078. World Premiere Recording - 2001.
304:Lieder mit Klavier (1930–1950); Songs for piano (
278:"Hymne an die Nacht"; Hymn to the Night (1937) (
227:"This is real music again! Let it be performed!"
36:Scherber in Aussig (ĂšstĂ nad Labem) - about 1932
543:Symphony No.3 (Metamorphosensinfonie in h-moll)
410:Sinfonie No. 3 in h-moll durch Martin Scherber
397:Sinfonie No. 2 in f-moll durch Martin Scherber
384:Sinfonie No. 1 in d-moll durch Martin Scherber
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573:(Nationalbibliothek Canada); Ottawa, Québec.
538:- Website: Martin Scherber - media to listen
432:Die Metamorphose als Wesenselement der Musik
203:(Peter Huber, letter of 5 May 2005. A-BRK-N)
285:Cycles of Children's Songs (1930/1937) (
185:"...without any musical creative power."
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113:'. These symphonies are his main work.
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179:"This music should be forbidden."
82:and after a short time he became
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71:State Academy of Music in Munich
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627:Pedestrian road incident deaths
622:Road incident deaths in Germany
578:Australian Library Collections.
412:, Hans Bosannek NĂĽrnberg (1971)
399:, Hans Bosannek NĂĽrnberg (1973)
386:, Hans Bosannek NĂĽrnberg (1971)
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355:Main Cycle of Children's Songs
351:Seven Songs on Poems by Goethe
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55:enwrapped in a sheet of music
292:Fairytale music (1938, 1946)
213:, on the 'ABC Piano Pieces')
571:Library and Archives Canada
565:Online Catalog, Washington.
349:Symphony No. 1 in D minor;
195:"We don´t want such music."
16:German composer (1907–1974)
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445:Talks With Great Composers
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617:Musicians from Nuremberg
111:Metamorphosis-Symphonies
91:Metamorphosis-Symphonies
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19:Not to be confused with
475:Gespräche mit Beethoven
344:www.cascade-medien.com
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104:There he created the
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282:; song with piano).
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289:, Martin Scherber)
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461:978-0-8065-1565-6
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126:avant garde
51:improvising
586:Categories
370:References
76:répétiteur
173:Criticism
84:conductor
65:Education
47:Nuremberg
488:Archived
480:Archived
106:Symphony
548:YouTube
511:, 1988.
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