Martin Scherber

from Wikipedia, the free encyclopedia
Martin Scherber in conversation in 1969 (before the accident).

Martin Scherber (born January 16, 1907 in Nuremberg ; † January 10, 1974 there ) was a German composer and creator of metamorphosis symphonics . Through his symphonic work he continued the musical language of the Viennese Classic and Romantic periods with transformed and new stylistic elements.

Childhood and youth

Martin Scherber was born as the third and youngest child of Marie and Bernhard Scherber in Nuremberg. The father was the first double bass player in the orchestra of the city opera house (today: Staatstheater Nürnberg ).

In addition to his musical talent, Scherber also had a great technical talent. Therefore he attended high school . At an early age - around the age of five - he began to play what he had heard on the piano and violin. He had perfect pitch . He didn't want to learn grades. After conflicts with his father, he finally accepted it as a means of representation for music. One of his strengths later lay in piano improvisation .

When he was thirteen, he wrote his first compositions. He received further piano lessons from the Nuremberg Opera Kapellmeister Karl Winkler and the pianist Maria Kahl-Decker. In 1922 he appeared in Nuremberg for the first time publicly as a pianist in the Stadtparksaal at a charity concert for the Ruhrhilfe, and in the following year in Nuremberg's Katharinenbau he also performed his own compositions.

While composing and improvising, he noticed how he was embedded in a "shell made of music" . He could easily step out of everyday consciousness and move into an independent, more alert consciousness. He stepped "behind the walls" , as he called it. From then on he tried to fathom these experiences, which were initially puzzling to him. In doing so, he first came across the work of Johann Wolfgang von Goethe (1749–1832), whose comprehensive worldview and way of dealing with internal and external phenomena appealed to him directly.

Study and commitment

Scherber in Aussig (around 1932)

From September 1925 he attended the State Academy of Music in Munich (today: University of Music and Theater ). For this he received scholarships. At the same time he studied philosophy . Here he was particularly concerned with epistemology , i.e. H. the communication of the active consciousness with itself and with the investigation of its integration possibilities in world events. While many artists viewed such an undertaking, if it is carried out in an analytical manner, as disturbing, even destructive for their impartial creative activities, he merged this work completely with artistic life practice through a methodical process of transformation.

Through his Goethe studies he discovered the writings of Rudolf Steiner (1861–1925). He tried out its references to epistemological and spiritual areas with his own independence. So he grew - slowly - through the development of a pure faculty of perception and through the energetic increase in the powers of attention, deeper insights and possibilities for activity. From this double aspect, his biography and his symphonic work appear in a special light, i. H. the later free creative activity in the production and design of the metamorphosis symphonies is a direct consequence of the artistic knowledge that this made possible.

In September 1929 he took up a position as a répétiteur in Aussig on the Elbe. After a short time he became conductor and choirmaster there . When his contract expired in May 1933, he withdrew from the public eye, but remained connected to the dramatic and tragic world events of his time. Now he was living as an independent music teacher and freelance composer again in his hometown.

Years of experience as a soldier in World War II had a lasting impact on him. After his return in 1946 he began to work again as a composer and private music teacher. 1948–1950 he made piano reductions for the symphonies of Anton Bruckner 3–9. He presented the arrangements to Wilhelm Furtwängler and Schott's Sons publishing house. They were judged to be both good and in conformity with the works. But the era of the electroacoustic media had come, so that - as Furtwängler also emphasized - there was no longer any interest in symphonic piano versions. But the work on Bruckner's symphonies was certainly an important preparation for the conception and implementation of the great metamorphic symphonies in the 1950s.

Metamorphic symphonies

The symphonies of metamorphosis can be regarded as his main works. He wrote the 1st symphony in D minor in 1937/38. The second symphony in F minor (1951–1952), created around fourteen years after his first attempt at a symphony, and the immediately following third symphony in B minor (1952–1955) can be considered as more weighty continuations of his with the D minor symphony started to be considered musical path. He also created instrumental music , choral works , songs and piano pieces. This is where the 'ABC' belongs, a piano cycle and an attempt to capture some qualities of German language sounds.

Connoisseurs of his great orchestral works noticed how something timeless and universal lives in them. This may be due to the fact that Scherber got to know the current composition techniques at the academy , later the current methods of Arnold Schönberg and his students, as well as Igor Stravinski , Béla Bartók , Paul Hindemith and others. a., and also later the technical media that became dominant in the avant-garde after the Second World War became clear as a substantial basis for new composition - however, the increasing clarification of his youthful experiences opened up different kinds of skills and thus more inner ways of producing music. He turned his technical skills inward, i.e. H. the matter-of-fact, sober manipulations to be acquired in the outside world were made fruitful for inner spiritual and spiritual experiences.

This reversal enabled him to settle into the now largely lost and therefore unknown areas of origin of music, into which the great classics tried to penetrate with their 'inner ear' and with ever greater awareness during their creative activities. One of their characteristics is the expansion of individual consciousness into the universal. He called this 'cross-over experience' because, depending on your attitude, you can take on the outside and inside viewpoint and learn to illuminate each other. For Scherber, it was not about eliminating scientific and technical developments, but about encouraging them to breathe soul and spirit, i.e. humanity, into them using the humanities working method.

His decisive discovery was: The well-guided meditative internalization leads to the creative forces which u. a. brought forth the outer perceptible world. In this way he gradually gained an inner breeding ground for the musical and spiritual content that he experienced more and more clearly. The earlier dreamy, ie half-conscious life in a "musical shell" and the feeling of stepping "behind the walls" were clarified. His withdrawal from the public may also be possible. a. It becomes understandable that, given the strangeness of his insights for the popular consciousness, he would have been drawn into constant arguments.

The composer during the time he was working on the Metamorphoses Symphonies, 1951–55.

The musical support for his orchestral works will be the all-centering theme that emerges from him through the entire symphony, finely weaving, polyphonic metamorphoses , the strict rhythms and the resulting dissonant and consonant harmonies . Since, according to Scherber, what is involved here is the artistic processing of what is experienced in the source area of ​​the music, the composer has to ensure that an adequate, spatially-temporally perceptible musical organism can emerge. This becomes the sounding message of a differentiated, actually internally experienced cosmos . Hence the author's formula "symphony through" not "symphony from".

" In my second I live z. B. always conscious in the whole sound event; I watch carefully that the spiritual thread does not break. That means that it remains a consistently organized form. Something eavesdropped on the world beings. When asked: harmony or not, I do not even get involved, because I am capturing content that we humans do not yet have. And in order to let these live out in the Tonleib, I just need everything. Any exclusion of anything would be impoverished. Who z. B. excludes harmonies, can certainly no longer revive certain things. The painter would be in the same case if he B. did not want to use the straight line or a certain color. The antics are against the real reality! --- A technical apparatus can be produced with ordinary consciousness. A work of art that is supposed to point the other person into a higher reality can only be brought from a higher area through a higher consciousness. Consciousness - not drive, as Schoenberg says. "

Scherber's closeness to Anton Bruckner results from the relationship between the inspirational experiences. Bruckner is and will remain unique as a person and composer. This may have something to do with his very personal constitution, cultural embedding and being tied to time. Scherber saw progress in that the source areas of the music, which Bruckner instinctively and foresightly grasped, would be explored through a spiritual training that was carried out in addition to the musical training. The experienced content then stimulates a suitable musical form based on the inherent laws of the coherence of man and world - here: a thematically centered symphony organism developing from the classical symphony form. Content and form then conformed.

Attempts to create a new symphony shape have been made since the 19th century. Richard Wagner et al. a. already expressed the intention to want to write symphonies in one movement. From Allan Pettersson one heard: "No one in the 50's noticed, that I am always breaking up the structures, that I was creating a whole new symphonic form." "Nobody noticed in the 1950s that I was constantly breaking up the [old] musical forms, that I was creating an entirely new symphonic form" etc.

For Scherber, the symphony in its musical universality, which has matured over the centuries, was not a gradually accumulating, accidental, experimental or expiring phenomenon, but the historically emerging path of human struggle for conscious participation in the creation process of the world. Everyone, whether composer, performer or active listener can participate equally in music. Logically, Scherer's symphonies show a relationship with the works and intentions of the great pacemakers of symphonic sound. You could always hear from composers, and not just from Ludwig van Beethoven :

“ It takes the rhythm of the spirit to grasp music in its essence: it gives an inkling, inspiration of heavenly sciences, and what the spirit sensually perceives of it is the embodiment of spiritual knowledge. "

Martin Scherber, who was only gradually becoming better known, played no role in the musical life of his time due to the lifestyle he chose himself. At the end of the 1960s, he planned to become active again in public. Similar to Gabriela Montero's time , he wanted to a. give concerts and improvise on topics suggested by the audience. An increasing uncontrollability of the right hand and a serious accident in 1970 prevented this.

Contemporaneity

Scherber moved in a different intellectual environment than the avant-garde of the 1950s, based on Arnold Schönberg and Anton von Webern . This experimented u. a. with technical and electronic media. She combined what she researched with great enthusiasm with constructive ideas or chance options, which led to serial , aleatoric compositions that work with alienation . Its aim was to replace the sources of inspiration in music that culminated in the European classical and romantic periods and had been declared exhausted . She wanted to leave the constraints felt in the tonal material behind and determine all the parameters that make up music on a scientific basis using treatment methods she invented. In addition, one strived for world music . It should be created as a musical home for all people through the inclusion of musical elements from as many cultures as possible - adequate to the scientific-technical-industrial civilization that spans the earth. Sounds never heard before and surprising effects were created with the help of completely new graphic notations - but it became clear that many musicians and listeners refused to accept the sound phenomena produced in this way as the future of music in keeping with their nature. The world-wide concert life remained inclined to the actual classical music and hardly followed the ideas how they might be. a. Karlheinz Stockhausen still painted in 1959 full of optimism according to his optimistic mood:

“ In twenty years no one will speak of Bach and the classics anymore. "

Scherber had a brief exchange of letters with him. To Stockhausen's astonishment, many composers at the turn of the 20th to the 21st century looked for other, thoroughly individually shaped paths. For Scherber, every tone was an act free from intellectual, emotional or instinctive influences. He moved in the tonal worlds he had opened up like a discoverer exploring a new continent. Inner action interwoven with the experiences in the source area of ​​the musical. He loved and lived music. She moved him, and he moved her Music, which, as he sometimes said, is inscribed in every human being, even if this does not yet fall into the personal consciousness today - that is, world music, which results from the inner harmony of human and cosmos. In 1962 he wrote to Peter von Siemens about the F minor symphony :

“ I may [...] suggest that this second symphony is not a composition - but a mystery - for me too! [...] Like an expectant mother, I experienced the process of producing - just not so unconsciously; experienced how those world powers that create humans wanted to reveal themselves audibly. "

His spiritual path allowed him to slowly shift the internal and external restrictions on the borderlines of human experience, i.e. to move in a typical pioneering situation. That is why he spoke, like others of his generation - for example Arnold Schönberg - but with the indicated different background of experience - of a consciously designed new beginning of music, a profound paradigm shift in the production of musical works of art that would lead far beyond the previous classical climaxes of music, and saw himself as a beginner. It is about entering a New World clearly from within - a source world of everything creative, which - not only for music - according to Scherber's experience, can be reached under certain conditions. Hence the consistency , stringency and intelligence - and probably also the controversial reception of his symphonic language during his lifetime, today and in the future.

criticism

  • “This music should be forbidden.” ( Hans Börnsen , 1957 after the world premiere of the second, A / BRK-N).
  • "... [without] musical creativity [...]" ( Bruno Walter , letter of April 25, 1957 on the third to the composer (A / BRK-N)).
  • “We don't want music like that!” (Alfons Dressel, in the 1950s, general music director in Nuremberg before and after the Second World War; A / BRK-N).
  • “In any case, in this colossal movement lasting almost an hour, the metamorphosis comes to a standstill. Bruckner's ingenious knowledge of contrasts and complements in harmony and movement was not revealed despite all the meditation. […] A music […] not very economical in the use of the means and of a lengthy breathlessness that cannot be ignored. ” (Peter T. Köster / Klassik heute 11/2001, on the third).
  • Scherer's symphony is “[…] a creative absurdity” […] “The music sticks to Bruckner so much that even the concept of the epigone remains strangely pale.” [The work is] “most likely annoying in its chimera of timelessness [... ] “ (Reinhard Schulz, NMZ 2001/2002, on the third).
  • “[…] The music is too far outside of our time. And the fact that she does not use a more appropriate, more adapted tonal language, a language that is seriously understandable today, seems to me to be her greatest mistake, perhaps even more fatal. It is an absolute anachronism. ” (Peter Huber, letter of May 5, 2005, A / BRK-N).
  • “That's music again! Get performed! […] “ (Siegfried Horvath, in the 1950s, zur Erste, A / BRK-N).
  • "[...] as far as the sea, nowhere constructed, always interesting, never intellectual - and always alive [...]" (Karl Winkler, former piano teacher Scherbers, later professor in Vienna; in the 1970s, for the third, A / BRK- N).
  • “The composer has radically renewed the form of the genre, and in a way that in no way makes it difficult to perceive […]” […] “That made Scherber's symphony all the more astonishing to me: it is modern and yet not modern , it is timeless. Only a great spirit could confidently ignore the usual ways leading to the “modernization” of musical language and create a form of expression from its own depths that has nothing to do with the unmusical experiments of the century and yet sounds absolutely original. […] “ (Georg Balan, founder of Musicosophia ; letter to the third in 2004, A / BRK-N).
  • "[...] You don't think you are listening to music anymore, but experiencing world events, the secrets of creation [...]" (Ludwig Hölzel, in the 1950s, A / BRK-N).

Symphony publication

In 1966 the Bruckner Circle was founded in Krefeld by the conductor Fred Thürmer and Musikfreunde. His long-term goal was to take care of Martin Scherber's work. Scherber himself intended to publish the metamorphic symphonies only after his death. But at Easter 1970 the idea was brought to him from various sides to publish his musical work earlier. He made himself available as a consultant, knowing full well that this decision could have a significant impact on his life. The facsimile scores of the third and first symphonies then appeared as direct contributions to the Nuremberg Albrecht Dürer year 1971. The F minor symphony went to press two years later.

accident

At the end of May 1970, Scherber was run over by a drunk in his car while walking. The formerly light and relaxed man was now, after an eight-month hospital stay, as a partially paralyzed person, dependent on a wheelchair for years. As a result of an accident, he finally died of diabetes that was not recognized by a doctor (kidney failure).

Works

Piano works

  • Cultic music for the annual festivals 1946–1951 (strings, piano)
  • Dances for two pianos with four hands each
  • ABC pieces for piano (approx. 1935–1965), premier: open
  • Fairy tale music (lost in 1930, 1946)

Piano arrangements

  • Max Reger: Symphonic Prologue for large orchestra from 1908 (1926)
  • Anton Bruckner: Symphonies No. 3 to 9 (1948–1950)
  • Martin Scherber: Symphonies No. 1 to 3 (1951–1955)

Symphonic music

  • 1st Symphony in D minor 1938, premiered March 11, 1952 in Lüneburg; Lüneburg Symphony Orchestra, conductor Fred Thürmer; then revised in 1952.
  • 2nd Symphony in F minor 1951–1952, premiered January 24, 1957 in Lüneburg; Lower Saxony Symphony Orchestra Hanover, conductor Fred Thürmer
  • 3rd Symphony in B minor 1952–1955, premier December 1, 2019 in Barcelona; Orquestra Simfònica Camera Musicae, conductor Christoph Schlüren

Vocal works

  • Songs with piano (45 preserved settings in total)
  • Goethe songs (1930), 7 settings
  • Don't disturb your sleep 1936 (Morgenstern)
  • Wanderer's Night Song 1937 (Goethe)
  • Children's song cycles 1930/1937 (Scherber (9), Brentano (18))
  • Hymn to the Night 1937 (Novalis)
  • Choirs a cappella (10) and choirs with piano or orchestra (3 pieces)

Texts

  • From the original sources of truly modern art and the universal connection of lonely people (1972); in the appendix to the score for the second.
  • Why fairy tales again today? (1972)
  • Aphorisms I + II (1976 and 1993)

Discography

Great metamorphosis symphonies

  • Symphony No. 3 in B minor, 2001 at col legno WWE 1 CD 20078; World Premiere Recording. Editor: Peermusic Classical , Hamburg 2001.
  • Symphony No. 2 in F minor, 2010 for Cascade Order No. 05116; am @ do-classics. Published by: Bruckner District Nuremberg 2010

Sources and Notes

  1. ↑ It would be a task to examine the metamorphosis symphonics more closely.
  2. ^ Bernhard Scherber * December 1, 1864 in Klein Tschachwitz near Dresden - † June 8, 1941 in Nuremberg; Maria Scherber born Egloff * July 20, 1878 in Maxhütte / Upper Palatinate - † March 11, 1963 in Nuremberg
  3. ↑ Booklet for Symphony No. 3 in B minor by Martin Scherber , Peermusic classical, Hamburg / col legno Bad Wiessee 2001, p. 7.
  4. ↑ Oberrealschule at the Löbleinstraße; today: Hans-Sachs-Gymnasium Nürnberg z. B. Annual report from the secondary school in Nuremberg dated April 2, 1925; Archive of the Bruckner District Nuremberg - Archive BRK-N
  5. ↑ Handwritten certificate from Karl Winkler from October 22nd. 26; Archive Bruckner District Nuremberg (Archive-BRK-N)
  6. ↑ Handwritten certificate from Maria Kahl-Decker from October 20th. 1926 (BRK-N archive)
  7. ^ Newspaper clipping (Nuremberg): "Charity concert of the music society 'Radetzky' in favor of Ruhrhilfe" signed Rogge (archive BRK-N)
  8. ^ "First piano recital by the young composer and piano virtuoso Martin Scherber, Nuremberg" Works by Mendelssohn, Schubert, Liszt, Beethoven and his own works were received: "Rhapsodie in B minor"; "Theme with 6 Variations" for the performance; Scherber found the latter to be inadequate in 1935 and destroyed it (archive BRK-N), as is also well known from other composers when they got the impression from a certain point in their work that they had now found 'their' way, or noticed that the music they 'produced' had become objectified
  9. ^ Martin Scherber: autobiographical note 2. Archive Bruckner-Kreis Nürnberg (A / BRK-N).
  10. ↑ "Grandiose Goethe Celebration in the City Theater" with prologue by Martin Scherber, Aussig newspaper, 1932. Scherber tried his whole life to practice Goethe's suggestions for observing nature and thereby deepen them. The inevitably accompanying internalization of the experience of nature finally led him to metamorphosis symphonics in the field of music, because if the inner life is sufficiently intense and emancipated, all human and natural activities are related according to the working method of `` cross-over experience '' developed by Scherber later. You, e.g. B. Goethe's plastic formative powers, which he developed in the plants, and Scherer's musical powers of change, which he found in the field of inner music, can mutually stimulate one another, because they come from the common source of creation.
  11. ↑ Munich University of Music and Theater Annual Reports List of names pp. 16–18. And “Extract from the censorship book for the first half of 1925/26”; signed Dr. Siegmund von Hausegger (Archive BRK-Nuremberg)
  12. ↑ after Hildegard Scherber-Tidecks from the city of Nuremberg or Munich
  13. ↑ Presumably at the University of Munich as a guest student, later continued to study independently for decades
  14. ↑ 'Cross-Over Experience'
  15. ↑ The first acquaintance happened with Steiner's work: "Basic lines of an epistemology of Goethe's worldview with special regard to Schiller", 1886; z. Currently 8th edition, Rudolf Steiner Verlag Dornach 2003; ISBN 978-3-7274-0020-9 - online edition
  16. ↑ Further elementary epistemological foundations and practical tips in Rudolf Steiner's work are: Truth and Science. Prelude to a philosophy of freedom. 4th edition 2012, ISBN 3-7274-0031-5 - online edition ; and philosophy of freedom - basic features of a modern worldview. 16th edition. 1995. ISBN 3-7274-0040-4 . (Paperback: 1992, ISBN 3-7274-6271-X ) all publications have been published by Rudolf Steiner Verlag, Dornach --- There are a number of online editions, e. B. Online edition of the 'Philosophy of Freedom'
  17. ↑ Martin Scherber From the original sources of all real art and the universal connection of lonely people. Score Symphony No. 2, Nuremberg 1973, Appendix, p. 277.
  18. ↑ Scherber never became a member of the Anthroposophical Society, but he worked anthroposophically, i. H. on the basis of a free, self-confident knowledge and action realism. A distinction must be made between the anthroposophical movement and the anthroposophical society. The latter is a specialized area of ​​the former. The former is more extensive and widespread than this, because a free movement based on humanity can only be organized under restrictive conditions.
  19. ^ Contract City Theater Aussig of September 15, 1932 (A / BRK-N)
  20. ^ Proof of the stage , issued by the director of the Aussiger Stadttheater 1929–1933 Franz-Josef Delius, Cologne from August 31, 1934. (A / BRK-N)
  21. ↑ 1940–1946: Bahnflak, music corps, medical service, English imprisonment in Munster camp
  22. ↑ Confirmation of registration for the granting of private lessons in “piano playing, music theory, accompaniment, conducting and score reading in Nuremberg, Schoppershofstr. 34 "- City Council of Nuremberg - Trade Office from October 19, 1948 (BRK-N archive)
  23. ↑ Scherber experienced war events in a very complex way due to his special skills. On the one hand the force of the clashing ideologically clad emotionalities and on the other hand the development of friendship, camaraderie and charity. This gave him a discipline that allowed him to gradually become more aware of the musical processes he experienced internally, so that he could finally articulate them in more advanced symphonic language after the war
  24. ↑ Furtwängler writes about it "... It seems to me to be faithful and reasonable - the best that can be said of a piano arrangement. ..." Letter of September 12, 1950; Archive BRK-N
  25. ↑ "The submitted samples of your Bruckner arrangements made a very good impression on us." Letter of June 21, 1949; Archive BRK-N
  26. ↑ Facsimile score of Symphony No. 1 in D minor by Martin Scherber. Printed by Heinz Bosannek, Nuremberg 1971. Published to celebrate the Albrecht Dürer Year 1971, Nuremberg (500th birthday of the Renaissance master.)
  27. ↑ Facsimile score of Symphony No. 2 in F minor by Martin Scherber. Printed by Heinz Bosannek, Nuremberg 1973.
  28. ↑ Facsimile score of Symphony No. 3 in B minor by Martin Scherber. Printed by Heinz Bosannek, Nuremberg 1971, like the score of the First for the Albrecht Dürer Year, but published before the First.
  29. ↑ Martin Scherber: The ABC - pieces for piano. Minden 1996.
  30. ↑ see Prof. George Balan; Ludwig Hölzel in the section 'Criticism'
  31. ↑ “Those who are not completely incapable can quickly learn so much that they can make music like these so-called moderns. Unfortunately, only those who can or have learned to know that. ” Letter from Scherber to Dr. Kosel (then dramaturge at the Nuremberg Opera House) on June 13, 1967
  32. ↑ on atonality "If you can do something, you don't need to write atonally." Richard Strauss after Scherber in a letter of June 15, 1967 to Dr. Kosel
  33. ↑ Notes on this from Rudolf Steiner: How do you get knowledge of the higher worlds. 24th edition. Rudolf Steiner Verlag, Dornach 1993, ISBN 3-7274-0100-1 . (Paperback: 1990, ISBN 3-7274-6001-6 ) - online edition
  34. ↑ The current scientific consciousness of civilization works rationally and with emphasis on the sensory organs - with additional refinements through measuring devices - in the world accessible to it. This leads to a comprehensive technical, possibly problematic mastery of the environment and some human behavior, but closes, according to Scherber, the deeper areas of being and becoming (limits of knowledge) in which the actual music is at home.
  35. ↑ "In addition to what can be perceived through" spiritual seeing "in this" spirit land ", there is something else here that is to be viewed as an experience of" spiritual hearing ". As soon as the" clairvoyant "rises from the soul The spirit land, the perceived archetypes are also sounding. This "sounding" is a purely spiritual process. It must be presented without any thinking about a physical tone. The observer feels as if he is in a sea of ​​tones. And in these tones, in this spiritual one Sounds express the beings of the spiritual world. In their coherence, their harmonies, rhythms and melodies, the primordial laws of their existence, their mutual relationships and relationships are expressed. What in the physical world the understanding perceives as law, as an idea, represents presents itself to the “spiritual ear” as something spiritual and musical. (The Pythagoreans therefore called this perception of the spiritual world “music of the spheres”. The owner of the “geis With a proper ear, "this" music of the spheres "is not just something figurative, allegorical, but a spiritual reality that is well known to him.) If one wants to get a concept of this" spiritual music ", one only has to get rid of all ideas of sensual music as it is through the "material ear" is perceived. We are dealing here with "spiritual perception", that is, one that must remain silent for the "sensual ear". "Theosophy" Rudolf Steiner Complete Edition Volume 9, Page 123 (2003) of the Scriptures; ISBN 978-3-7274-0090-2 and as a paperback Tb 615 ISBN 978-3-7274-6151-4 - online edition
  36. ↑ This means: with trained internal forces, make the transition into the object world, so that subjectivity can merge with objectivity through strengthened free self-confidence (intuition), from which creative actions in scientific, artistic and economic areas can actually emerge.
  37. ↑ Today it is believed that inventions, artistic works, scientific achievements, business management in connection with technically innovative products emerge from the more or less ingenious imagination of individual people and that in individual cases they are specifically linked to brain and genetic functions as their causes, without the To actually be able to elucidate the background of this productive imagination and formation of judgment (motivation) in the individual areas of life.
  38. ↑ This experience and research method has z. B. Rudolf Steiner (1861–1925) was given extensive scientific and artistic training and was made aware of this in his writings and lectures; z. B. he formulated as early as 1893/94 in his basic philosophical work on cognition and the ethical action based on it "Intuition is the conscious experience of a purely spiritual content that takes place in the purely spiritual." - Rudolf Steiner "Philosophy of Freedom" Complete Edition, Volume 4, p. 146. This does not mean the common intuition described in Wikipedia , which can be puzzlingly accurate from the subconscious and can subsequently be categorized intellectually or reasonably into living conditions got to.
  39. ↑ The fact that there are multiple collisions with the prevailing scientific and religious worldviews taking place here is due to the consequence of these seemingly paradoxical Scherer experiences.
  40. ^ Henning Kunze: On the Third Symphony by Martin Scherber. Booklet for the third, Peermusic classical / col legno, 2001, pp. 4-7.
  41. ↑ Scherbers' attempts to get into public discussions with personalities in culture, business and politics have all failed. B. Konrad Adenauer, Peter von Siemens, Karlheinz Stockhausen, Klaus Hashagen etc.
  42. ↑ Henning Kunze: The metamorphosis as an essential element of music. In: The Three. 9/1990, Verlag Freies Geistesleben, Stuttgart 1990, pp. 676-687, references to the Second Symphony
  43. ↑ see note 30
  44. ↑ Scores of the Symphonies No. 1-3 , each p. 1.
  45. ^ Arnold Schönberg: Harmony. Universal Edition, Vienna / Salzburg / Berlin 1911, p. 497 and 1949 p. 500.
  46. ↑ Martin Scherber: Letter to Fred Thürmer of November 10, 1951 (A-BRK-N)
  47. ↑ Richard Wagner "... at the end of his life. He and Liszt spoke in Venice about one-movement symphonies that Wagner especially wanted to write." (Martin Gregor-Dellin: Richard Wagner. A biography in pictures - The Bayreuth work in Richard Wagner: works, writings and letters , p. 51696 from Digitale Bibliothek Publishing GmbH, Berlin, volume 107. Also in the diaries of Cosima Wagner , volume 2 p. 827 - Digital Library Volume 107 Richard Wagner p. 40469)
  48. ^ Paul Rapoport: Allan Pettersson. Stockholm 1981, p. 21.
  49. ^ Bettina Brentano : Conversations with Beethoven. Josef Rufer : Confessions and Insights - Composers About Their Work. Goldmann Verlag / Schott's Sons, Munich 1981, ISBN 3-442-33055-6 , p. 33. (TB 33055) (April 1988 edition)
  50. ↑ Erika Scherber reported in 2008 that Scherber's father Bernhard and nephew Richard - her husband - got Parkinson's when they were old. Perhaps these symptoms of illness also made themselves felt in Martin Scherber? He himself never articulated it like that, but traced it back to other causes. Also its surroundings, e.g. B. the music student body noticed nothing of it.
  51. ^ Michael Kurtz: Stockhausen. A biography. Bärenreiter, Kassel / Basel 1988, p. 93; Bach Prize Winner 1995 - Bach Prize of the Free and Hanseatic City of Hamburg
  52. ^ Karlheinz Stockhausen: Letter to Martin Scherber. dated April 30, 1972 (A / BRK-N) If Stockhausen is mentioned here, it makes a difference whether the composer's statements reflect fantasy or reality. Scherber had offered Stockhausen to hold public discussions in the form of an exchange of letters about the composition and the background of the music. Stockhausen declined because he was absorbed in making music and not in discussions. Scherber also did not value theoretical discussions. He was in agreement with Stockhausen on that. There was no correspondence.
  53. ↑ When he was advised to listen to radio music for entertainment after the accident, he said he didn't need it because he lived in music inside.
  54. ^ Martin Scherber: Letter to Peter von Siemens. of July 7, 1962 (A / BRK-N)
  55. ↑ Musicosophia - School of Conscious Listening to Music, St. Peter in the Black Forest (Germany)
  56. ↑ Today: Bruckner District Nuremberg
  57. ↑ evening newspaper. Nuremberg, September 7, 1973, p. 1 and February 5, 1974, p. 9.

Web links

Wikiquote: Martin Scherber  - Quotes
Commons : Martin Scherber  - Collection of images, videos and audio files
personal data
SURNAME Scherber, Martin
BRIEF DESCRIPTION German composer
DATE OF BIRTH January 16, 1907
PLACE OF BIRTH Nuremberg
DATE OF DEATH January 10, 1974
Place of death Nuremberg