Max Strub

from Wikipedia, the free encyclopedia
Signature Max Strub, 1965

Karl Johannes Max Strub (born September 28, 1900 in Mainz , † March 23, 1966 in Bad Oeynhausen ) was a German violin virtuoso and important violin teacher. He developed a European reputation during his 36 years as the first violinist of the Strub Quartet . Stations as Concertmaster led him in the 1920s at the Staatsoper Stuttgart , Dresden and Berlin . Appointed Germany's youngest music professor in Weimar in 1926 , he followed callsBerlin and after the Second World War, which he survived as a “ God gifted ” man, to Detmold . Strub was a connoisseur of the classical-romantic repertoire, but also devoted himself to modern music, among others. a. He was responsible for the world premiere of Hindemith's Violin Sonata in D major . Last but not least, he promoted the music of Hans Pfitzner . Strub played a Stradivarius violin until 1945 , and numerous recordings from the 1930s and 40s document his work.

Life

Origin and musical support

Karl Johannes Max Strub was born in 1900 as the eldest of three children of the photographer Otto Strub and his wife Ida, b. Göhringer, born in Mainz in what was then the Grand Duchy of Hesse- Darmstadt. His mother was the daughter of a cigarette manufacturer from neighboring Biebrich am Main, a district of Wiesbaden that was later incorporated . His sister Elisabeth married a US manufacturer with whom she was to settle in Weimar. Rosa, his younger sister, also spent most of her life there.

The father earned his living mainly with photography of the dead . European violin personalities such as Willy Burmester , Joseph Joachim , Jan Kubelík and Henri Marteau, as well as the young Franz von Vecsey , frequented his studio in Mainz at Frauenlobstraße 25 in Neustadt , whom he in turn photographed free of charge. Otto Strub was a passionate amateur violinist himself and supported Max musically to the best of his ability. There was a piano in the studio and he received his first piano lessons at the age of five . From the age of six he was by Alfred Stauffer, concertmaster of the Philharmonic State Orchestra Mainz , in violin teaching. Kubelik recommended the ambitious father to contact the Viennese violin professor Otakar Ševčík . In his correspondence, however, he advised against a career as a musician for financial reasons.

In his hometown Max Strub attended the humanistic grammar school , where he showed himself to be musically and artistically talented. He played in the local school orchestra, whose first violin he soon took over. The cello group included the later writer Carl Zuckmayer , who was four years his senior and with whom he was on friendly terms throughout his life. At the age of twelve Strub gave his first public concert. He played Bruch's Violin Concerto in G minor with the Mainz Orchestra . Two years later he joined a. a. in Frankfurt am Main in the state of Hessen-Nassau with the violin concerto and the 3rd piano concerto by Beethoven . In retrospect, Zuckmayer described the young Strub as a musical “ child prodigy ”.

Violin studies in Cologne

Strub, who was gifted at playing the piano and violin, had to make a decision and, at the age of sixteen, on the advice of the conductor Fritz Busch , brother of the violinist Adolf Busch , decided - without his Abitur - to join the violin class of the former concertmaster of the Berlin Philharmonic Orchestra at the Conservatorium der Musik in Cologne Bram Eldering , a student of Joseph Joachim, to enter. In addition to Strub, Adolf Busch and Wilhelm Stross also apprenticed to the Dutch music teacher Eldering. During the First World War , the underage student Strub lived with a landlord with his mother and younger sister . He was able to gain playing practice until 1918 as second violinist at the orchestra rehearsals of the municipal Gürzenich Orchestra under the musical direction of Hermann Abendroth . He was open to all styles, including contemporary music. In 1918, Strub received the Mendelssohn Prize in Berlin, combined with an appearance under the conductor Otto Klemperer, which was noted in the local press . Together with the growing cello virtuoso Emanuel Feuermann , he played the Brahms Double Concerto in A minor . He stayed at the Cologne Conservatory for another year.

Chamber musician, concertmaster and professor

Stuttgart, 1921/22

After a tour in Germany and Italy, in August 1921, the regional music director Fritz Busch brought him to the orchestra of the Württemberg State Theater in Stuttgart as concertmaster and thus successor to Karl Wendling . Strub, who at the time had little orchestral experience, was Busch's last choice after the application process was sobering. Busch described him as a “violinist of the very first order” and predicted a steep career for him. His contract committed him to opera and symphony concert service, i. H. 10 performances plus rehearsals each, whereby he was exempt from scene rehearsals and operetta service. At the events in the opera, the concertmaster Reinhold Rohlfs-Zoll , who was previously Wendling's representative, was given equal status. Busch pursued a modern program design at the Landestheaterorchester, which was not always positively received by the criticism. During Strub's service, Ewald Sträßer's Fourth Symphony op. 44 was premiered in October 1921 in the Stuttgart Liederhalle . The private citizen Strub got to know the Busch family of musicians better and the conductor Busch later became the godfather of his son Harald Strub alongside the violin teacher Eldering .

Dresden, 1922–1925

With the Busch poached to Dresden, he moved to the musical band of the Saxon State Theater (Semperoper) in 1922 , where he accepted the position as first concertmaster. After performing Brahms' Violin Concerto, the orchestra unanimously decided in favor of Strub. Busch was responsible here during his orchestra membership in 1924 at the State Theater , the premiere of Strauss's Intermezzo , a "bourgeois comedy with symphonic interludes". In the same year, the Dutch violinist Jan Dahmen was appointed first concertmaster to Strub . After Strub had left the Saxon capital in favor of a career as a soloist and music teacher, he was inherited by Karl Thomann .

In chamber music terms, Strub replaced Gustav Havemann in 1923 as primary violinist in the Dresden String Quartet , which also included orchestral musicians Erdmann Warwas (2nd violin), Alfred Spitzner (viola) and Georg Wille (violoncello). According to the historian Michael H. Kater , he soon surpassed his predecessor Havemann as a string player.

Weimar, 1925–1928

A family friend of his wife Hilde Neuffer, who was married in 1922, the music school director Bruno Hinze-Reinhold , persuaded the Strubs to move to the Thuringian capital Weimar. From April 1925, Strub was the successor of the pedagogue Paul Elgers full-time head of one of the two violin classes (alongside Robert Reitz ) at the State Music School in Weimar . In Weimar he established the violin school Die Kunst des Violinspiels (1923) of the internationally known violin teacher Carl Flesch . In 1926, the 26-year-old Strub was the youngest musician in Germany to receive a professorship . After the Weimar composer and music teacher Eduard August Molnar jun. but also envious people who only approved of such a teaching obligation around the age of 60. To avert Strub's departure to Berlin, he was made civil servant in 1927; in addition, his salaries should be increased. Although Strub moved to the capital in 1928, he continued to teach two days a week in Weimar until 1930. Due to its international reputation, the music school was converted into a music college in 1930.

In the 1927/28 season he briefly represented the conductor Ernst Praetorius in the music school orchestra that was being established. In 1927 he formed the Weimar Trio, succeeding Robert Reitz, together with Bruno Hinze-Reinhold (pianist) and Walter Schulz (cellist). His successor was Hans Bassermann in 1930 . During the Weimar years he occasionally played in a duo with his wife Hilde. The couple lived in a rented apartment near the Weimar City Palace .

Berlin, 1928–1945

Weimar Republic
State Opera on Platz der Republik (Kroll Opera House) in Berlin (1930)

General music director Otto Klemperer signed him in 1928 with the Austrian Josef Wolfsthal as co-concertmaster at the Staatskapelle Berlin , whereby Strub was assigned to the Kroll section, d. H. the venue of the State Opera on Platz der Republik . In addition to classical and romantic works, the program also included new symphonies by contemporary composers such as Max Butting and Ernst Krenek . In his apartment on Lützowufer ( Landwehr Canal ) in 1931, Strub, who was living separately from his wife Hilde at the time, housed the American composer Aaron Copland as well as Barbara and Roger Sessions . The originally planned Violin Concerto for Sessions did not materialize due to a nervous breakdown by Strub. In the end , the composer could not come to an agreement with the new soloist Albert Spalding either, so that the late work was not to be performed for the first time in the USA until the 1940s. Public pressure from conservative cultural and political circles in Berlin and the economic consequences of the global economic crisis led to the closure of the progressive house in 1931. Despite the decision of Prussian politics, Strub remained loyal to the Staatskapelle and succeeded Wolfsthal, who died young, in 1931.

time of the nationalsocialism

After the seizure of power of the Nazis in 1933, he was one of those musicians who remained in the German Reich. After the engagement of the second concert master of the Berlin Philharmonic Orchestra (BPO), Wilfried Hanke , to the Hamburg State Theater, Wilhelm Furtwängler invited him as a guest concert master on his orchestra's trip abroad to England . The BPO entered in January 1934 with a classic-romantic program u. a. in London's Queen's Hall and the Royal Albert Hall . As a soloist he made his debut in 1937 with Brahms' Violin Concerto at the BPO under the musical direction of the Swiss conductor Robert F. Denzler .

Among Strub's numerous solo concerts during the Nazi era, there were also cultural events by decidedly political organizations such as the Nazi cultural community and the staff music corps of the SS leadership main office . In 1943 he also took part in a Zwickau memorial concert for the “ fallen in the movement ”.

In 1935 Strub formed a piano trio with Friedrich Wührer (piano) and Paul Grümmer (cello). In the summer of 1935 he joined the piano trio of the pianist Elly Ney and the cellist Ludwig Hoelscher , with whom he played until 1940, as the successor to the American violin virtuoso Florizel von Reuter . Recordings of works by Schubert, Beethoven, Brahms and Schumann were made. Although the Ney trio had its origins in the Weimar Republic , its leader Ney was close to the Nazi regime. Unlike Hoelscher, Strub can hardly be described as opportunistic. Unlike his colleagues, he did not become a party member. Strub formed another trio in 1943 with the Swiss pianist Adrian Aeschbacher and the Spanish cellist Gaspar Cassadó . Even after the war they still submitted recordings.

In addition, Strub has repeatedly performed chamber music with the pianist and Pfitzner friend Walter Gieseking . In 1940 they gave a concert in Hanover as part of a Nazi community concert " Kraft durch Freude ". Works by Schubert, Beethoven and Pfitzner were on the program. He also persuaded his students Hans-Ulrich Tiesler, Max Kayser and Franz Hopfner to the world premiere of Giesekings Little Music for three violins, which took place in the theater of the State Academy of Music in Berlin .

In the summer of 1933/34 he represented Carl Flesch, who had had a special agreement with the university since 1928, at the same music college. In July 1933 Strub was appointed professor. In 1934, due to his obligation in Berlin, he turned down a call to the Academy of Music in Munich, where he was to take on the direction of a master class. In the post-war period he did not return to the West Berlin University of Music, despite the recruitment order.

As one of the most important violinists in the Third Reich, Strub was included in the list of God-gifted people ("Führerliste") in 1944 , which saved him from military service.

Salzburg, 1945–1947

After the Second World War he was temporarily accepted into Wels in Upper Austria with his composer friend Johann Nepomuk David . The Salzburg Mozarteum Orchestra signed him for three years as concert master. As part of the Salzburg Festival in 1946, he performed Bruckner's Mass No. 3 in F minor with the orchestra under Joseph Messner . In 1947 he was a teacher at the International Summer Academy Mozarteum Salzburg .

Detmold, 1947-1966

In the winter semester 1947/48 he took over the master classes for violin as well as for interpretation and chamber music at the Northwest German Music Academy in Detmold , which is currently being established ; In 1957 he received a professorship. He often played as a soloist with the North West German Philharmonic in Herford under the direction of Rolf Agop . In the 1950s Strub founded a piano trio with the pianist Hans Richter-Haaser and the cellist Hans Münch-Holland .

During the Cold War he was repeatedly (1964–1966) invited as a visiting professor to the GDR's international music seminar at the Liszt School of Music in Weimar, his former place of work. As before in Leipzig, when Hermann Abendroth was still the Gewandhauskapellmeister, he also frequented the conductor's house in Weimar, whom he already knew from his years in Cologne. He also gave concerts with him, around 1949 as a soloist at a concert by the Staatskapelle Weimar in Jena.

Strub last lived in Detmold and Stuttgart . After a stroke in 1966, Max Strub died at the age of 65 in the Bad Oeynhausen hospital in the Detmold administrative district .

String quartet founded: "Strub Quartet"

During his time in Berlin, he met the Swiss pianist Edwin Fischer , who accepted him into his chamber orchestra specializing in historical performance practice , supported him as a duo partner and encouraged him to found a string quartet. In 1929 he founded the first Strub Quartet with Josef Krips, Rudolf Nel and Hans Schrader . Four further line-ups were to follow by 1965, including the one that emerged from the Bonn Beethoven Quartet in 1935 with Jost Raba , Walter Trampler and Ludwig Hoelscher. The ensemble was one of the most famous German string quartets, played at home and abroad and was allowed to take on almost half of the Gewandhaus Chamber Concerts in Leipzig from the late 1930s .

End of war and Stradivarius violin

Shortly before the end of the Second World War, he worked in the County of Glatz in the province of Silesia . With the advancement of the Red Army , like other Philharmonic orchestras, he fled west. In Prague he was briefly arrested by the Gestapo and taken prisoner by Czech or Russian troops after his release. In May 1945 he was interned in the infamous Strahov Stadium . There he was tried as a supposed high party functionary before a court martial , but was able to prove his music profession through a prelude. His Stradivari violin (1716), which he carried with him in a double case next to the Grancino, was irrevocably stolen from him by Russian soldiers. The precious instrument is originally through his Frankfurt patron Wilhelm Merton as a permanent loan were released.

Repertoire and meaning

The violinist Strub was praised in the professional world for his "extensive [] technical [] perfection" as well as "sound beauty and creative power". After Busch's emigration, Strub was even considered the most important German violinist alongside Georg Kulenkampff . The historian Gert Kerschbaumer also counted the virtuosos Kulenkampff and Strub among the “beneficiaries” of their time. From then on, Strub's Quartet and Stross' Quartet competed for the legacy of the Busch Quartet in Germany. According to the musicologist and Strub student Albrecht Roeseler , both Primarii, without having belonged to the "world elite", "enriched musical life [...] through diverse activities as a soloist, as a chamber musician, as a concertmaster and as a teacher" in the 1950s and 1960s " .

Old and classic-romantic works

Strub was a widely acclaimed interpreter of the "three big Bs" (Bach, Beethoven and Brahms ). So he performed as a soloist a. a. at the 25th German Bach Festival of the New Bach Society in Leipzig, where he interpreted Bach's solo sonata in A minor . A guest concert took the soloist Strub to the Lorensbergsteatern in Gothenburg in 1931 , where he performed with the Gothenburg Symphony Orchestra under the conductor Paul Scheinpflug . Under Karl Böhm he gave two Brahms and Pfitzner concerts in the Wiener Konzerthaus in 1938 with the Vienna Symphony Orchestra . He performed several times in the 1930s, 40s and 50s under the musical direction of Joseph Keilberth . He also recorded pieces for the Reich broadcaster, with no dedicated “political music” being interpreted.

He made repeated appearances in the 1930s and 40s at the Beethoven Festival and the Chamber Music Festival in Bonn. His commitment to Ludwig van Beethoven went so far that he took part in 1938 with Hoelscher and Ney at the Beethoven Festival of the Hitler Youth in Bad Wildbad in the Black Forest and heroized the composer there. The guidelines were printed in the magazine for music . In the 1942/43 season he made a guest appearance at the Leipzig Gewandhaus , where he performed Beethoven's violin concerto . After a complete cycle of all Beethoven string quartets at the Conservatorio Giuseppe Verdi in Milan, Strub became the fifth violinist ever - after Adolf Busch, Lucien Capet , Eugène Ysaÿe and Joseph Joachim - to become an honorary member of the Società del Quartetto di Milano . He also received a diploma as an honorary member of the Beethoven House in Bonn and a picture of his string quartet was exhibited there. In 1952 he attended a reception in Bonn with Federal President Theodor Heuss and Federal Chancellor Konrad Adenauer as well as the musicians Elly Ney and Wilhelm Backhaus as part of the Beethoven celebration.

Contemporary music

Strub was one of the first German violinists to perform modern solo concerts and duos such as Alexander Glasunow's Violin Concerto (1923), Béla Bartók's 1st Sonata for violin and piano (1924), Darius Milhaud's Sonata for two violins (with Joseph Gustav Mraczek ; 1925) and Karol Szymanowski's Violin Concerto No. 1 (1929) was added to their repertoire. As a violinist and violist, he took part in the concert premiere of Arnold Schönberg's melodrama Pierrot Lunaire in Cologne in 1922 . In 1931 he took part in a performance of Bohuslav Martinůs Piano Trio No. 1 (Cinq pièces brèves) in Berlin, which was organized by the Berlin branch of the International Society for New Music .

Through his participation in the propagandistic Reichsmusiktage in 1938 and 1939 in Düsseldorf, he allowed himself to be politically instrumentalized as an artist. During the first Reichsmusiktage he took over the solo part in the second symphony concert . The Urban orchestra Dusseldorf played under the direction of Hugo Balzer 's Violin Concerto Geigenmusik in three sets (1936). The atonal work of the Berlin composer Boris Blacher was considered controversial at the time.

Contemporary composers such as Günter Bialas , Karl Bleyle , Hans Pfitzner and Lothar Windsperger dedicated pieces to him. The world premiere of Reinhard Schwarz-Schilling's violin concerto op.46 , which was scheduled as the 6th symphony concert of the Bremen Philharmonic Society for January 6, 1941 with Max Strub as soloist and the Bremen Philharmonic under the baton of Hellmut Schnackenburg , was canceled at short notice by the Composer withdrawn. After a revision in 1953, the premiere finally took place in 1954 without Strub.

World premieres as a soloist and chamber musician
composer plant event place year Participating artists
Paul Hindemith Sonata in D for piano and violin op.11 No. 2 Frankfurt am Main 1920 with Eduard Zuckmayer
Lothar Windsperger Concerto for violin and orchestra op.39 eat 1927 with the City Orchestra Düsseldorf under the direction of Hans Weisbach
Lothar Windsperger String quartet Koblenz 1933 with B. Marusat (?), R. Neb (?) and Hans Schrader (Strub Quartet)
Hans Pfitzner Duo for violin and violoncello with small orchestra op.43 Museum concert Frankfurt am Main 1937 with Ludwig Hoelscher and the Städtisches Orchester ( Frankfurt Opera and Museum Orchestra ) under the direction of the composer
Karl Höller String quartet in E major op.24 Gewandhaus Chamber Music Leipzig 1938 with Jost Raba , Walter Trampler and Ludwig Hoelscher (Strub Quartet)
Johann Nepomuk David Duo concertante for violin and violoncello. Plant 19 2. Gewandhaus Chamber Music Leipzig 1938 with Ludwig Hoelscher
Paul Juon Burletta for violin and orchestra. Plant 97 4th symphony concert Dresden 1940 with the Sächsische Staatskapelle under the direction of Peter Raabe
Anton Bruckner /
Armin Knab (editor)
String quintet (transfer of the drafts of the trio in F major and F sharp major to the Scherzo of Symphony No. 9 in D minor ( WAB 109)) 2nd Leipzig Bruckner Festival Leipzig 1940 with Hermann Hubl, Hermann Hirschfelder and Hans Münch-Holland (Strub Quartet) and Emil Seiler
Theodor Berger Rhapsodic duo for violin and violoncello with orchestra op.9 Frankfurt am Main 1942 with Rudolf Metzmacher
Hans Pfitzner String Quartet in C minor, Op. 50 Berlin Art Weeks Berlin 1942 with Hermann Hubl, Hermann Hirschfelder and Hans Münch-Holland (Strub Quartet)
Johannes Driessler String quartet op. 41/1 10th anniversary of the Northwest German Music Academy Detmold 1957 with Ruth Wagner, Walter Müller and Irene Güdel (Strub Quartet)
Günter Bialas String trio (arranged flute trio) musica viva concert / 50th birthday of the composer Detmold 1957 with Walter Müller and Irene Güdel

Supporter of the music of Hans Pfitzner

Strub, who came into contact with works by Hans Pfitzner at the age of seventeen, got to know the composer better in the 1920s at the Stuttgart Opera. He made friends with him and henceforth promoted his music. Strub himself was the dedicatee of Pfitzner's Duo for Violin, Violoncello and Small Orchestra, Op. 43 and of his String Quartet, Op. 50. Von Pfitzner's Ney Trio mainly played the Piano Trio in F major, Op. 8. Strub performed as a soloist with the BPO under Hans Knappertsbusch (in the Philharmonie ) and Joseph Keilberth (in the Admiralspalast ) Pfitzner's violin concerto. The latter should have been his last concert before the end of World War II. Immediately before Pfitzner's death (1949) Strub visited his friend in Salzburg, where a series of photos was taken. In the year before his own death, Strub was elected deputy chairman of the Hans Pfitzner Society in Munich.

The music historian Fred K. Prieberg quoted Strub in the Handbook of German Musicians 1933–1945 a . a. in the following words referring to Pfitzner, which Strub found in a publication on the cultural and political labor camp of the cultural and broadcasting office of the Reich Youth Leadership in 1938: “The harmonious triad: creator, reproducing and receiving, as Pfitzner says, here in the concerts for them Hitler Youth is reverently struck, and a keynote forms the basis on which the guardians of German art should grow! "

Student group

Carl Zuckmayer (1945) once described him as "one of the best orchestra people and violin teachers in Europe". Some of Strub's violin students later played in renowned string quartets (such as the Gewandhaus Quartet , the Bastiaan Quartet , the Stross Quartet and the Munich String Quartet ). His group of students in Weimar, Berlin, Salzburg and Detmold included a. a .:

family

From 1922 to 1932 Max Strub was married to his former fellow student Hilde Neuffer (1897–1980; later Rawson). She came from a Weimar family of artists, was the daughter of the Jewish-born court actor Dagobert Neuffer and the writer Hildegard Neuffer-Stavenhagen . The Strubs married in the Evangelical Lutheran Herder Church in Weimar and had three children together. Son Harald Strub (1923–1988) became a cellist and member of the Arriaga Quartet . His Irish son-in-law John Ronayne was u. a. Concertmaster of the Bavarian Radio Symphony Orchestra . In 1938 Strub married the Italian pianist Marie-Luisa Moresco; their son Patrick Strub (* 1947) became a conductor and violinist.

other

The figure of the famous cellist Felix in the comedy Ach, these women (1964) by Swedish director Ingmar Bergman is loosely based on the German violinist Jonathan Vogler , a pseudonym for Max Strub.

Discographic notes

Max Strub was involved in numerous recordings as a soloist and chamber musician. However, due to the 80 percent destruction of the Electrola building in Berlin at the end of World War II, it is difficult to reconstruct the violinist's complete discography. Nevertheless, a list of recordings is deposited at the British AHRC Research Center for the History and Analysis of Recorded Music (CHARM). Looking back, u. a. his recording of Max Reger's 4th String Quartet in E flat major op. 109 is considered important.

  • Presto, from: Violin Concerto in A major (Electrola?)
  • String quintet, F major, WAB 112 (Electrola 1940?, Pristine Audio 2017)
  • Adagio for violin and piano (Electrola 1937)
  • Finale, from: String Quartet, F major, op. 96 " American Quartet " (Bertelsmann Schallplattenring 1959)
  • Andante, from: Chamber Trio in C minor (His Master's Voice?, Electrola?)
  • Trio No. 1, F major, Hob.XV: 37 ( Deutsche Grammophon 1948)
  • Variations from: String Quartet, C major, C major, op. 76/3, Hob. III: 77 " Kaiserquartett " (Bertelsmann Schallplattenring 1959 and 1961, Orbis 1967, Parnass 1968)
  • String Quartet No. 1, E major, op.24 (Electrola 1938)
  • Canzonetta, from: String Quartet No. 1, E flat major, op.12 (Bertelsmann Schallplattenring 1959)
  • Andante con variazioni and Allegretto, from: Piano Trio KV 564 (Electrola 1944, meloclassic 2014)
  • Clarinet Quintet in A major KV 581 (Electrola 1941, Clarinet Classics 2000)
  • Minuet, from: Youth Concerto in D major for harpsichord and strings KV 107 (His Master's Voice?, Electrola?)
  • Duo for violin, violoncello and small orchestra op.43 (Electrola 1938, Preiser Records 1990 and 1997, EMI 1994, Naxos Germany 1997)
  • Liebstraum (Electrola 1936, A Classical Record 1995)
  • String Quartet No. 4, E flat major, op.109 (Electrola 1936 and 1938)
  • Burlesque (No. 4) and Minuet (No. 5), from: Suite in A minor for violin and piano op.103a (Electrola 1936, A Classical Record 1995)
  • Piano Trio No. 1 , B flat major, op.posth. 99, D 898 ( Polydor 1936)
  • Piano quintet, A major, op. Posth. 114, D 667 “ Trout quintet ” or theme and variations from it ( His Master's Voice 1937, Electrola 1938, Bertelsmann Schallplattenring 1959, 1960 and 1961, Ariola 1960, Pearl 1995)
  • String Quartet No. 15, G major, op.posth. 161, D 887 (Electrola 1937)
  • String quintet , C major, op. Posth. 163, D 956 (Electrola 1941, meloclassic 2014)
  • Violin Sonata (Sonatina) in G minor, op.posth 137/3, D 408 (Electrola 1937)
  • Gartenmelodie (No. 3), from: Works for piano four hands op.85 (Electrola 1937)
  • Barcarole, G major, op. 135/1, from: Six Salon Pieces for Violin and Pianoforte (Electrola 1937)
  • String Quartet No. 2, C minor, op.8 (Electrola 1941, meloclassic 2014)

Fonts (selection)

Manuscripts

The correspondence Max Strubs with personalities of his time is distributed to various archives and libraries such as the Saxon State Library - State and University Library Dresden , the State Library of Coburg , the University Library of Würzburg , the Bavarian State Library in Munich and the German Literature Archive in Marbach .

Published posts

  • Artistic problems in the everyday life of the violinist . In: Alfred Morgenroth (Hrsg.): Von deutscher Tonkunst: Festschrift for Peter Raabe's 70th birthday . CF Peters, Leipzig 1942, pp. 222-227 ( digitized version ).
  • The way to friendship with the master . In: Walter Abendroth (Ed.): Hans Pfitzner : A picture in dedications on the occasion of his 75th birthday . On behalf of his friends and admirers. Heling, Leipzig 1944, pp. 107–111 and the like. (Ed.) In collaboration with Karl-Robert Danler: Festschrift on the occasion of the 100th birthday on May 5, 1969 and the 20th anniversary of Hans Pfitzner's death on May 22, 1969 . Peter-Winkler-Verlag, Munich 1969, pp. 66-68.
  • Birthday letter for a true friend . In: Gift of friend for Paul Winter on January 29, 1964 . Joh. Prechter Verlag, Neuburg / Donau 1964, pp. 50–53.
  • With Joseph Szigeti : colleagues about Adolf Busch . In: Wolfgang Burbach (Ed.): In memoriam Adolf Busch . Brothers Busch Society eV, Hilchenbach-Dahlbruch 1966, pp. 57–61.

interview

  • Ernst Laaff : About the early lessons and the concert soloist. Conversation with Max Strub . In: Das Musikleben 1 (1948) 2, p. 50f.

literature

Articles in reference books

  • Wilhelm Altmann (Hrsg.): Kurzgefasstes Tonkünstler-Lexikon . Volume 2: L-Z . Part 2: Additions and extensions since 1937 . Founded by Paul Frank, revised and supplemented by Wilhelm Altmann. Heinrichshofen, Wilhelmshaven 1978, ISBN 3-7959-0087-5 , p. 336.
  • Hedwig and Erich Hermann Mueller von Asow (eds.): Kürschner's German Musicians Calendar 1954 . 2nd edition of the German Musicians Lexicon, de Gruyter, Berlin 1954, column 1322.
  • Brockhaus- Riemann music lexicon . CD-Rom, Directmedia Publishing, Berlin 2004, ISBN 3-89853-438-3 , p. 10132.
  • Walter Habel (Ed.): Who is who? The German who's who. 14th edition, arani, Berlin 1962, p. 1548.
  • Friedrich Herzfeld (ed.): The new Ullstein lexicon of music. With 5000 keywords, 600 music examples . Ullstein, Frankfurt am Main a. a. 1993, ISBN 3-550-06523-X , pp. 700f.
  • Wolfram Huschke: Strub, Max. In: Gitta Günther , Wolfram Huschke, Walter Steiner (ed.): Weimar: Lexicon to city history . Metzler, Weimar 1998, ISBN 3-7400-0807-5 , p. 437.
  • Ernst Klee : Cultural encyclopedia for the Third Reich. Who was what before and after 1945 . Revised edition, Fischer, Frankfurt am Main 2009, ISBN 978-3-596-17153-8 , p. 541.
  • Alain Pâris: Classical music in the 20th century: instrumentalists, singers, conductors, orchestras, choirs . 2nd expanded, completely revised edition, dtv, Munich 1997, ISBN 3-423-32501-1 , p. 768.
  • Fred K. Prieberg : Handbook of German Musicians 1933-1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , pp. 7555 and 9792.
  • Rudolf Vierhaus (Ed.): German Biographical Encyclopedia (DBE) . Volume 9: Schlumberger - Thiersch . 2nd revised and expanded edition, KG Saur, Munich 2008, ISBN 978-3-598-25039-2 , p. 788.

Memory, Obituary, and Family History

  • Helmut Grohe: Max Strub in memory . In: Mitteilungen der Hans-Pfitzner-Gesellschaft 1966, 16th episode, pp. 2-4.
  • Elgin Strub-Ronayne: The violinist Max Strub (1900–1966). About his life and the artists who influenced and enriched it . In: Das Orchester 35 (1987) 11, pp. 1157–1162.
  • Elgin Strub: Max Strub . In: The Strad 101 (1990) 1208, pp. 994-997.
  • Elgin Strub: My father Max Strub. In: Ders .: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , pp. 55–75 (Review: Ingrid Hermann: Sketches of a family of artists in Weimar . In: Das Orchester 48 (2000) 2, p. 72).
  • Carl Zuckmayer : The violinist Max Strub. A Scherzo of Childhood and the Present (1951) . In: Ders .: Call to Life. Portraits and testimonies from turbulent times . Edited by Knut Beck and Maria Guttenbrunner-Zuckmayer, Fischer, Frankfurt am Main 1995, ISBN 3-596-12709-2 , pp. 34–38 (selected in 1976; printed in the Neue Ruhr Zeitung on February 24, 1951; original in Zuckmayer Estate in the German Literature Archive in Marbach).

Web links

Commons : Max Strub  - collection of images, videos and audio files

Discography

Individual evidence

  1. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 55.
  2. ^ A b c Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 58.
  3. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 57.
  4. A portrait photo of Henri Marteau is preserved in the photo collection of the German Music History Archive in Kassel , cf. Image archive: Marteau, Henri , dmga.de, accessed on December 20, 2018.
  5. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 56.
  6. See letter from Professor Ševčík to Strub, printed undated in: Elgin Strub: Sketches of a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 57 f.
  7. Cf. Carl Zuckmayer , Paul Hindemith : Briefwechsel . Edited, introduced and commented on by Gunther Nickel and Giselher Schubert , Röhrig, St. Ingbert 1998, ISBN 3-86110-158-0 , p. 105.
  8. ^ A b Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 59.
  9. ^ Carl Zuckmayer : Call to Life. Portraits and testimonies from turbulent times . Edited by Knut Beck and Maria Guttenbrunner-Zuckmayer, Fischer, Frankfurt am Main 1995, ISBN 3-596-12709-2 , p. 34.
  10. Cf. Karl-Heinz Knittel (arrangement): Abitur graduates of the Mainz old-language grammar school (Rabanus-Maurus-Gymnasium) from 1901–2007 . CD supplement for: Ferdinand Scherf , Meike Hensel-Grobe, Franz Dumont (eds.): Rabanus-Maurus-Gymnasium Mainz. The history of the school . Rutzen, Ruhpolding u. a. 2008, ISBN 978-3-938646-10-6 .
  11. Elgin Strub: Max Strub . In: The Strad 101 (1990) 1208, pp. 994-997, here: p. 996.
  12. Willi KahlEldering, Bram. In: New German Biography (NDB). Volume 4, Duncker & Humblot, Berlin 1959, ISBN 3-428-00185-0 , p. 436 ( digitized version ).
  13. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 60.
  14. ^ Karlheinz Weber: From minstrel to urban chamber musician. On the history of the Gürzenich Orchestra . Volume 2, Merseburger, Kassel 2009, ISBN 978-3-87537-318-9 , p. 120.
  15. ^ Karlheinz Weber: From minstrel to urban chamber musician. On the history of the Gürzenich Orchestra . Volume 1, Merseburger, Kassel 2009, ISBN 978-3-87537-318-9 , p. 692.
  16. a b c d Wilhelm Joseph von Wasielewski : The violin and its masters . Edited and supplemented by Waldemar von Wasielewski , Breitkopf & Härtel, Leipzig 1927, p. 701.
  17. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , pp. 60 f.
  18. ^ A b c Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 61.
  19. a b See Max Strub's personal documents with the order signature Staatsarchiv Ludwigsburg E 18 VI Bü 1226 ( filmed document ).
  20. As early as June 1921, the premieres of the Hindemith expressionist operas Murderer, Hope of Women and Das Nusch-Nuschi triggered a theater scandal in Stuttgart, cf. Ulrich Drüner : 400 years of the Stuttgart State Orchestra. A contribution to the history of the development of the orchestral music profession using the example of Stuttgart . In: Staatstheater Stuttgart (Ed.): 400 Years of the Stuttgart State Orchestra: 1593–1993. A commemorative publication . Stuttgart 1994, pp. 41-172, here: pp. 132f.
  21. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , pp. 61f.
  22. ^ A b Ortrun Landmann : Directory of names of the Sächsische Staatskapelle Dresden: own designations, names of administrators, musical directors and former members from 1548 to 2013, in systematic-chronological order . Presented in 2013, updated and corrected annually since then (status: August 2017), p. 16 ( PDF ).
  23. Personal . In: Zeitschrift für Musik 89 (1922) 8, p. 199.
  24. ^ Fritz Busch in the Lexicon of Persecuted Musicians of the Nazi Era (LexM); for the work see u. a. Ulrich Konrad : Intermezzo - The Egyptian Helena - Arabella . In: Walter Werbeck (Ed.): Richard Strauss Handbook . Metzler / Bärenreiter, Stuttgart a. a. ISBN 978-3-476-02344-5 , pp. 214–241, here: p. 214.
  25. From concert and opera . In: Zeitschrift für Musik 91 (1924) 1, p. 146.
  26. a b c d e f g h i j k Michael Waiblinger, Strub Quartet, Booklet, Meloclassic 4002, 2014.
  27. Michael H. Kater : The abused muse. Musician in the Third Reich . Piper, Munich a. a. 2000, ISBN 3-492-23097-0 , p. 53.
  28. ^ A b c d Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 62.
  29. a b Wolfram Huschke: Future Music: A History of the Liszt School of Music Weimar . Böhlau, Cologne a. a. 2006, ISBN 3-412-30905-2 , p. 167.
  30. On Strub's appointment to Weimar, see Personal and Conservators and Education . In: Zeitschrift für Musik 92 (1925) 2 and 10, pp. 111 and 610.
  31. ^ Eduard August Molnar jun .: Weimar . In: Zeitschrift für Musik 94 (1927) 5, p. 301.
  32. a b c Wolfram Huschke: Future Music: A History of the Liszt School of Music Weimar . Böhlau, Cologne a. a. 2006, ISBN 3-412-30905-2 , p. 180 f.
  33. Wolfram Huschke: Strub, Max. In: Gitta Günther , Wolfram Huschke, Walter Steiner (ed.): Weimar: Lexikon zu Stadtgeschichte . Metzler, Weimar 1998, ISBN 3-7400-0807-5 , p. 437.
  34. See Otto Reuter: Weimar . In: Die Musik 19 (1927) 2, p. 537 f.
  35. Personal . In: Zeitschrift für Musik 94 (1927) 2, p. 110.
  36. Bruno Hinze-Reinhold: Memoirs (= Edition Music and Word of the Liszt School of Music Weimar . Vol. 1). Edited by Michael Berg. Universitätsverlag, Weimar 1997, ISBN 3-86068-069-2 , p. 68.
  37. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 49; see. Listed residential building at Leibnizallee 4 (formerly Wilhelmsallee ).
  38. Hans Curjel: Experiment Krolloper: 1927–1931 (= studies on the art of the nineteenth century . Vol. 7). From the estate edited by Eigel Kruttge, Prestel, Munich 1975, ISBN 3-7913-0076-8 , p. 15; Peter Heyworth: Otto Klemperer: his life and times . Volume 1: 1885-1933 . Cambridge University Press, Cambridge 1996, ISBN 0-521-49509-1 , p. 297; Contemporary history . In: Die Musik 21 (1928) 3, p. 238.
  39. Manfred Haedler: 425 years of music Berlin . In: Georg Quander (Hrsg.): Klangbilder - Portrait of the Staatskapelle Berlin . Propylaen (license from Ullstein publishing house), Berlin 1995, ISBN 3-550-05490-4 , pp. 11–31, here: pp. 24f., Pp. 194f.
  40. Andrea Olmstead: Roger Sessions: a biography . Routledge, New York et al., 2008, ISBN 978-0-415-97713-5 , p. 234.
  41. ^ Michael P. Steinberg : The Concerto: A Listener's Guide . Oxford University Press, Oxford u. a. 1998, ISBN 0-19-510330-0 , pp. 429f.
  42. ^ A b Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 64.
  43. Antony Beaumont (Ed.): "Excuse me, I cannot speak high." Letters from Otto Klemperer 1906–1973 . Edition Text + Critique, Munich 2012, ISBN 978-3-86916-101-3 , pp. 191f.
  44. ^ Tully Potter: Adolf Busch. The Life of an Honest Musician . Volume 1: 1891-1939 . Toccata Press, London 2010, ISBN 978-0-907689-65-2 , p. 519.
  45. a b See personal . In: Zeitschrift für Musik 101 (1934) 2, p. 225 f.
  46. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , pp. 64 f.
  47. Despite the intercession of the chief conductor, the Polish violinist Szymon Goldberg , who was ostracized as a “ half-Jew ” and who was still on the guest performance in the United Kingdom, lost his position as first concertmaster, cf. Agata Schindler:  Szymon Goldberg in the Lexicon of Persecuted Musicians of the Nazi Era (LexM); Misha Aster: "The Reich Orchestra". The Berlin Philharmonic and National Socialism . Siedler, Munich 2007, ISBN 978-3-88680-876-2 , p. 389.
  48. John Squir, John Hunt: Furtwängler and Great Britain . Furtwängler-Society United Kingdom, 2nd edition, London 1985, ISBN 0-9510268-0-1 , pp. 25 f.
  49. ^ Peter Muck : One Hundred Years of the Berlin Philharmonic Orchestra . Volume 3: The members of the orchestra, the programs, the concert tours, first and world premieres . Schneider, Tutzing 1982, ISBN 3-7952-0341-4 , p. 278.
  50. Concert podium . In: Zeitschrift für Musik 102 (1935) 11, p. 1302.
  51. ^ Fred K. Prieberg : Handbook of German Musicians 1933–1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , p. 6605.
  52. ^ Fred K. Prieberg : Handbook of German Musicians 1933–1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , p. 382.
  53. a b Personal . In: Zeitschrift für Musik 102 (1935) 7, p. 825.
  54. See contemporary history . In: Die Musik 27 (1935) 2, p. 798.
  55. ^ A b Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 66.
  56. ^ Heinrich Vogel: From the diaries of Elly Ney . Schneider, Tutzing 1979, ISBN 3-7952-0252-3 , p. 54.
  57. Michael H. Kater : The abused muse. Musician in the Third Reich . Piper, Munich a. a. 2000, ISBN 3-492-23097-0 , p. 66.
  58. ^ Tully Potter: Adolf Busch. The Life of an Honest Musician . Volume 1: 1891-1939 . Toccata Press, London 2010, ISBN 978-0-907689-65-2 , p. 528.
  59. ^ Fred K. Prieberg : Handbook of German Musicians 1933–1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , p. 7555.
  60. See Fritz Stege : Berliner Musik . In: Zeitschrift für Musik 110 (1943) 3, pp. 113–118, here: p. 118.
  61. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 69.
  62. ^ Gabrielle Kaufman: Gaspar Cassadó: Cellist, Composer and Transcriber . Routledge, London a. a. 2017, ISBN 978-1-472-46715-7 , p. 259.
  63. Kathinka Rebling : Introduction . In: Carl Flesch and Max Rostal: Aspects of the Berlin string tradition. [On the occasion of the Max Rostal Competition for Violin 2002, which was held from October 7th to 13th at the Berlin University of the Arts] (= writings from the archive of the Berlin University of the Arts . Vol. 4). Edited by Dietmar Schenk and Wolfgang Rathert , Universität der Künste, Berlin 2002, ISBN 3-89462-090-0 , pp. 13–31, here: p. 27.
  64. Personal . In: Zeitschrift für Musik 101 (1934) 3, p. 348.
  65. Christine Fischer-Defoy : "Art, in the construction a stone". The West Berlin art and music colleges in the post-war area of ​​tension . Published by the Berlin University of the Arts, Berlin 2001, ISBN 3-89462-078-1 , p. 286.
  66. a b c d Ernst Klee : Cultural Lexicon for the Third Reich. Who was what before and after 1945 . Revised edition, Fischer, Frankfurt am Main 2009, ISBN 978-3-596-17153-8 , p. 541.
  67. ^ A b Joseph Schröcksnadel: Salzburg's musical ambassadors: The Mozarteum Orchestra . Winter, Salzburg 1984, ISBN 3-85380-038-6 , p. 75; see. Affidavit by Max Strub, quoted by Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , pp. 69-71.
  68. Search for artist "Max Strub" in the archive of the Salzburg Festival, archive.salzburgerfestspiele.at, accessed on January 20, 2019.
  69. ^ Balance sheet of the International Summer Academy of the Mozarteum 1947 . In: Österreichische Musikzeitschrift 2 (1947) 10, p. 273.
  70. ^ Richard Müller-Dombois: The founding of the Northwest German Music Academy Detmold . In: Lippische Mitteilungen aus Geschichte und Landeskunde 46 (1977), pp. 5–64, here: p. 16.
  71. Rudolf Vierhaus (Ed.): German Biographical Encyclopedia (DBE) . Volume 9: Schlumberger - Thiersch . 2nd revised and expanded edition, KG Saur, Munich 2008, ISBN 978-3-598-25039-2 , p. 788.
  72. ^ A b Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 74.
  73. Festschrift of the "Franz Liszt" University of Music, Weimar, on the hundredth anniversary of its founding as an orchestral school: 1872–1972 . Edited by an editorial collective under the direction of Edgar Hartwig , Hochschule für Musik Franz Liszt, Weimar 1972, p. 137; see. Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 75.
  74. Irina Lucke-Kaminiarz: Hermann Abendroth. A musician in the interplay of contemporary history . Weimarer Taschenbuch Verlag, Weimar 2007, ISBN 978-3-937939-65-0 , p. 91.
  75. Irina Lucke-Kaminiarz: Hermann Abendroth. A musician in the interplay of contemporary history . Weimarer Taschenbuch Verlag, Weimar 2007, ISBN 978-3-937939-65-0 , p. 135.
  76. Irina Lucke-Kaminiarz: Hermann Abendroth. A musician in the interplay of contemporary history . Weimarer Taschenbuch Verlag, Weimar 2007, ISBN 978-3-937939-65-0 , p. 137.
  77. Poster: 6th Academic Concert, 1949 in the journal journals @ UrMEL of the Thuringian University and State Library Jena , zs.thulb.uni-jena.de, accessed on January 31, 2019.
  78. ^ Elgin Strub-Ronayne: The violinist Max Strub (1900-1966). About his life and the artists who influenced and enriched it . In: Das Orchester 35 (1987) 11, pp. 1157–1162, here: p. 1162.
  79. ^ A b c Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 75.
  80. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 63.
  81. ^ Jürgen Stegmüller: The string quartet. An international documentation on the history of string quartet ensembles and string quartet compositions from the beginning to the present (= source catalogs for music history . Volume 40). Noetzel, Wilhelmshaven 2007, ISBN 978-3-7959-0780-8 , p. 227.
  82. See Siegfried Kogelfranz: "A tragedy of enormous proportions". The expulsion of the Germans . In the S. (Ed.): The expellees (= Spiegel-Buch . 63). Rowohlt, Reinbek bei Hamburg 1985, ISBN 3-499-33063-6 , pp. 7–3, here: p. 23; Jan Tabor : Ole. Architecture of expectation. Treatise on the stadium as a special type of political structures of validity (fragment) . In: Matthias Marschik , Rudolf Müllner, Georg Spitaler, Michael Zinganel (eds.): The stadium: history, architecture, politics, economy . Turia and Kant, Vienna 2005, ISBN 3-85132-435-8 , pp. 49–90, here: p. 80.
  83. ^ Walter Kolneder : The book of the violin: construction, history, play, pedagogy, composition . Schott, Mainz 2012, ISBN 978-3-7957-9156-8 , pp. 141f.
  84. Hanns-Ulrich Kunze: Life with three bells. A musician remembers . Topp and Möller, Detmold 1997, ISBN 3-9803614-7-0 , p. 31; see. Assessment of Julius Fridrich: Berlin as a city of music . In: Die Musik 28 (1936) 2, pp. 801–807, here: p. 807.
  85. ^ Gert Kerschbaumer : Mozart is silent . In: Die Zeit , No. 43, October 18, 1991.
  86. a b Cf. Tully Potter: The concert explosion and the age of recording . In: Robin Stowell (Ed.): The Cambridge Companion to the String Quartet . Cambridge University Press, Cambridge 2003, ISBN 0-521-80194-X , pp. 60-94, here: p. 71.
  87. Albrecht Roeseler : Great violinists of our century . New edition reviewed and expanded by Norbert Hornig, Piper, Munich a. a. 1996, ISBN 3-492-22375-3 , p. 335.
  88. ^ A b Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 67.
  89. Concert with Max Strub in the 1930/31 season in the archives of the Gothenburg Symphony Orchestra, accessed on February 24, 2019.
  90. Concert on December 13, 1938 and concert on December 14, 1938 , wienersymphoniker.at, accessed on January 20, 2019.
  91. Thomas Keilberth: Joseph Keilberth. A conductor's life in the XX. Century . Edited by Hermann Dechant , Apollon Musikoffizin, Vienna 2007, ISBN 978-3-9501190-6-0 , p. 125.
  92. Cf. Deutsches Rundfunkarchiv (ed.): Political Music in the Time of National Socialism. A directory of the audio documents (1933–1945) (= publications of the German Broadcasting Archive . Vol. 30). Compiled and edited by Marion Gillum and Jörg Wyrschowy. Verlag für Berlin-Brandenburg, Potsdam 2000, ISBN 3-932981-74-X .
  93. ^ Helmut Heyer: Culture in Bonn in the Third Reich (= publications of the Bonn City Archives . Vol. 62). City archive and city history library, Bonn 2002, ISBN 3-922832-32-6 , u. a. Pp. 116 and 127 ff.
  94. ^ David B. Dennis: Beethoven in German Politics, 1870-1989 . Yale University Press, New Haven 1996, ISBN 0-300-06399-7 , p. 156.
  95. Ludwig Hoelscher , Elly Ney , Max Strub: Guidelines for the Beethoven Festival of the Hitler Youth . In: Zeitschrift für Musik 105 (1938) 7, pp. 732f.
  96. Thomas Keilberth: Joseph Keilberth. A conductor's life in the XX. Century . Edited by Hermann Dechant , Apollon Musikoffizin, Vienna 2007, ISBN 978-3-9501190-6-0 , p. 95.
  97. ^ Elgin Strub-Ronayne: The violinist Max Strub (1900-1966). About his life and the artists who influenced and enriched it . In: Das Orchester 35 (1987) 11, pp. 1157–1162, here: pp. 1161f.
  98. ^ Heinrich Vogel: From the diaries of Elly Ney . Schneider, Tutzing 1979, ISBN 3-7952-0252-3 , p. 39; see. Photographs by Max Strub and the Strub Quartet in the digital archive of the Beethoven House in Bonn, katalog.beethoven.de, accessed on December 30, 2018.
  99. Cf. Inge Karsten: Baden-Baden . In: Zeitschrift für Musik 96 (1929) 2, p. 104.
  100. Other line-up: Otto Klemperer (conductor), Marie Gutheil-Schoder (speaking voice), Hans Wilhelm Steinberg (piano), Emanuel Feuermann (cello), Emil Wehsener (flute and piccolo) and Alfred Völcker (clarinet and bass clarinet); see. Antony Beaumont (Ed.): "Forgive me, I cannot speak high." Letters from Otto Klemperer 1906–1973 . Edition Text + Critique, Munich 2012, ISBN 978-3-86916-101-3 , p. 83; Karlheinz Weber: From minstrel to urban chamber musician. On the history of the Gürzenich Orchestra . Volume 2, Merseburger, Kassel 2009, ISBN 978-3-87537-318-9 , p. 486; Michael Waiblinger, Strub Quartet, Booklet, Meloclassic 4002, 2014.
  101. Jana Hřebíková: Reception of the works of Bohuslav Martinůs in German-speaking musical life from 1923–1939 . Dissertation, University of Leipzig, 2011, pp. 149, 175.
  102. Cf. Ina Stenger: Reichsmusiktage for the "Volksgemeinschaft". NS music policy using the example of the Reichsmusiktage in 1938 and 1939 in Düsseldorf . In: Düsseldorfer Jahrbuch 87 (2017), pp. 211–239, here: p. 223.
  103. ^ Fred K. Prieberg : Handbook of German Musicians 1933–1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , p. 263.
  104. Cf. Thomas Eickhoff: Cold intellect in the succession of Stravinsky's? On Boris Blacher and the reception of his works during National Socialism . In: Yearbook of the State Institute for Music Research Prussian Cultural Heritage 1999 . Pp. 153–176, here: pp. 164, 171.
  105. Peter Marcan: Music for Solo Violin Unaccompanied: A Performer's Guide to the Published Literature of the 17th, 18th, 19th and 20th Centuries (= String player's library series ). P. Marcan, High Wycombe 1983, ISBN 0-9504211-5-4 , p. 10.
  106. Cf. Fred K. Prieberg : Handbook of German Musicians 1933–1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , p. 6666.
  107. ↑ First performance on February 28, 1954 by Siegfried Borries (violin) and the Berlin Philharmonic Orchestra under the direction of Joseph Keilberth , cf. Tobias Broeker: The 20th Century Violin Concertante: A Repertoire Guide to the Compositions for Violin Concertante Written Between 1894 and 2006 . 3rd revised edition, Stuttgart 2016, ISBN 978-3-00-050001-5 , p. 2279.
  108. Stephen Luttmann: Paul Hindemith: A Research and Information Guide (= Routledge Music Bibliographies ). 2nd edition, Routledge, New York et al. a. 2009, ISBN 978-0-415-99416-3 , p. 399; Burcu Dogramaci:  Eduard Zuckmayer in the dictionary of persecuted musicians of the Nazi era (LexM); Paul Hindemith: Violin Sonata in D major, op.11,2 , Villa Musica's online chamber music guide (kammermusikfuehrer.de), accessed on December 15, 2018.
  109. Tobias Broeker: The 20th Century Violin Concertante: A Repertoire Guide to the Compositions for Violin Concertante Written Between 1894 and 2006 . 3rd revised edition, Stuttgart 2016, ISBN 978-3-00-050001-5 , p. 2761; Music reports and small messages . In: Zeitschrift für Musik 95 (1928) 2, p. 101.
  110. ↑ In 1933 the Südwestdeutsche Rundfunk broadcast a recording of Strub with the Frankfurter Rundfunk-Symphonie-Orchester under Hans Rosbaud , cf. Radio messages . In: Zeitschrift für Musik 100 (1933) 12, p. 1316.
  111. ^ WJ Becker: Koblenz . In: Zeitschrift für Musik 100 (1933) 3, pp. 277–279, here: p. 279.
  112. Tobias Broeker: The 20th Century Violin Concertante: A Repertoire Guide to the Compositions for Violin Concertante Written Between 1894 and 2006 . 3rd revised edition, Stuttgart 2016, ISBN 978-3-00-050001-5 , p. 1932; New items 1938 . In: Zeitschrift für Musik 105 (1938) 2, p. 229; Albert Richard Mohr : Musical life in Frankfurt am Main. A contribution to the history of music from the 11th to the 20th century . Waldemar Kramer publishing house, Frankfurt am Main 1976, ISBN 3-7829-0185-1 , pp. 52, 354; Hildegard Weber (Ed.): The "Museum". 150 years of concert life in Frankfurt: 1808–1958 . On behalf of the Frankfurter Museumsgesellschaft, Kramer, Frankfurt am Main 1958, p. 136.
  113. Music reports . In: Zeitschrift für Musik 105 (1938) 1, p. 5.
  114. Tobias Broeker: The 20th Century Violin Concertante: A Repertoire Guide to the Compositions for Violin Concertante Written Between 1894 and 2006 . 3rd revised edition, Stuttgart 2016, ISBN 978-3-00-050001-5 , p. 519; Music reports . In: Zeitschrift für Musik 105 (1938) 12, p. 1375.
  115. Tobias Broeker: The 20th Century Violin Concertante: A Repertoire Guide to the Compositions for Violin Concertante Written Between 1894 and 2006 . 3rd revised edition, Stuttgart 2016, ISBN 978-3-00-050001-5 , p. 1192; Fred K. Prieberg : Handbook of German Musicians 1933-1945 . 2nd Ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , p. 5767; see. Karl Laux : Resonance: Autobiography . Verlag der Nation, Berlin 1977, p. 278.
  116. Cf. Jörg Wyrschowy: Faszination Torso: The Trio-Drafts for the 2nd Movement of the 9th Symphony by Anton Bruckner (German Broadcasting Archive: The Special Document 2008/1), sp-webdra.rbb-online.de, accessed on 9. February 2019.
  117. World premieres . In: Zeitschrift für Musik 107 (1940) 11, p. 674; Anton Bruckner : Complete Works. Critical complete edition . Volume 9/2. Edited by the General Directorate of the Austrian National Library and the International Bruckner Society , Musikwissenschaftlicher Verlag, Vienna 1998, p. XIV.
  118. World premieres . In: Zeitschrift für Musik 109 (1942) 2, p. 57.
  119. ^ Fritz Stege : Berlin Music . In: Zeitschrift für Musik 109 (1942) 7, pp. 303f.
  120. ^ Markus Kiefer: Johannes Driessler. Life and work . Dissertation, University of Mainz, 2001, p. 11, 142; Jürgen Stegmüller: The string quartet. An international documentation on the history of string quartet ensembles and string quartet compositions from the beginning to the present (= source catalogs for music history . Volume 40). Noetzel, Wilhelmshaven 2007, ISBN 978-3-7959-0780-8 , p. 285; Fl: Anniversary in Detmold . In: Neue Zeitschrift für Musik 118 (1957) 5, p. 320.
  121. ^ Gabriele E. Meyer: Günter Bialas. Catalog raisonné . Bärenreiter, Kassel u. a. 2003, ISBN 3-7618-1565-4 , p. 101; we note . In: Neue Zeitschrift für Musik 119 (1958) 6/7, p. 403.
  122. Sabine Busch: Hans Pfitzner and National Socialism (= M - & - P series of publications for science and research: music ). Metzler, Stuttgart a. a. 2001, ISBN 3-476-45288-3 , p. 90.
  123. ^ Heinrich Vogel: From the diaries of Elly Ney . Schneider, Tutzing 1979, ISBN 3-7952-0252-3 , p. 63.
  124. ^ Peter Muck : One Hundred Years of the Berlin Philharmonic Orchestra . Volume 3: The members of the orchestra, the programs, the concert tours, first and world premieres . Schneider, Tutzing 1982, ISBN 3-7952-0341-4 , pp. 297, 312.
  125. Thomas Keilberth: Joseph Keilberth. A conductor's life in the XX. Century . Edited by Hermann Dechant , Apollon Musikoffizin, Vienna 2007, ISBN 978-3-9501190-6-0 , p. 129.
  126. ^ Gabriele Busch-Salmen, Günther Weiß: Hans Pfitzner. Munich documents, pictures and portraits (= series of publications by the University of Music in Munich . Vol. 2). G. Bosse, Regensburg 1990, ISBN 3-7649-2278-8 , pp. 114, 149f; see. Illustrations by Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , o. P.
  127. The information . In: Neue Zeitschrift für Musik 126 (1965) 2, p. 439.
  128. Max Strub: Creator, reproducer and recipient - a harmonious triad . In: Otto Zander (Ed.): Weimar. Confession and Action. Cultural-political labor camp of the Reich Youth Leadership in 1938 . Limpert, Berlin 1938, p. 101, quoted in: Fred K. Prieberg : Handbook of German Musicians 1933–1945 . 2nd ed., Kopf, Kiel 2009, ISBN 978-3-00-037705-1 , p. 7555.
  129. See Carl Zuckmayer's letter to Brigitte and Gottfried Bermann Fischer of September 9, 1945, quoted by Irene Nawrocka (ed.): Carl Zuckmayer, Gottfried Bermann-Fischer, Briefwechsel. With the letters from Alice Herdan-Zuckmayer and Brigitte Bermann Fischer . Volume 1: Letters 1935–1977 . Wallstein-Verlag, Göttingen 2004, ISBN 3-89244-627-X , pp. 256-258, here: p. 257.
  130. Hedwig and Erich Hermann Mueller von Asow (eds.): Kürschner's German Musicians Calendar 1954 . 2nd edition of the German Musicians' Lexicon, de Gruyter, Berlin 1954, column 38.
  131. ^ Armin Suppan , Wolfgang Suppan : Das Blasmusik-Lexikon. Composers - Authors - Works - Literature . Edited in conjunction with the Styrian Brass Music Association, 5th edition, HeBu-Musikverlag, Kraichtal 2010, ISBN 978-3-9806925-9-5 .
  132. Chukyung Park: The Avant-Courier of an Age of Turbulence and Tragedy: The Life and Legacy of the Musician and First Korean Violin Virtuoso, Byeongso Ahn . Dissertation, University of Illinois at Urbana-Champaign 2017, p. 24f.
  133. Gerassimos Avgerinos: Artist biographies: the members of the Berlin Philharmonic Orchestra from 1882 to 1972 . Self-published, Berlin 1972, p. 21.
  134. ^ Hans-Rainer Jung, Claudius Böhm : The Gewandhaus Orchestra. Its members and its history since 1743. Faber & Faber, Leipzig 2006, ISBN 3-936618-86-0 , p. 252.
  135. Hedwig and Erich Hermann Mueller von Asow (eds.): Kürschner's German Musicians Calendar 1954 . 2nd edition of the German Musicians Lexicon, de Gruyter, Berlin 1954, Sp. 525f.
  136. Gerassimos Avgerinos: Artist biographies: the members of the Berlin Philharmonic Orchestra from 1882 to 1972 . Self-published, Berlin 1972, p. 81.
  137. Hedwig and Erich Hermann Mueller von Asow (eds.): Kürschner's German Musicians Calendar 1954 . 2nd edition of the German Musicians Lexicon, de Gruyter, Berlin 1954, Col. 709.
  138. Ilse Konell (ed.): Jules Siber, Paganinis Wiederkehr. A life for art . Orphil-Verlag, Niebüll 2003, ISBN 3-934472-04-4 , p. 98.
  139. Hedwig and Erich Hermann Mueller von Asow (eds.): Kürschner's German Musicians Calendar 1954 . 2nd edition of the German Musicians Lexicon, de Gruyter, Berlin 1954, Col. 878.
  140. ^ Hans-Rainer Jung, Claudius Böhm : The Gewandhaus Orchestra. Its members and its history since 1743. Faber & Faber, Leipzig 2006, ISBN 3-936618-86-0 , p. 246.
  141. ^ Carl Dahlhaus , Hans Heinrich Eggebrecht (ed.): Brockhaus-Riemann-Musiklexikon. In four volumes and a supplementary volume . Volume 1: A-D . 2nd, revised and expanded edition, Schott, Mainz 1995, ISBN 3-7957-8396-8 , p. 298.
  142. ^ Walter Kolneder:  Kolneder, Walter. In: Friedrich Blume (Hrsg.): The music in past and present (MGG). First edition, Volume 7 (Jensen - Kyrie). Bärenreiter / Metzler, Kassel et al. 1958, DNB 550439609
  143. Editors: rough wood, Werner : In: Axel Schneider Jürgen (ed.): Furrier musicians manual. Soloists, conductors, composers, university lecturers . KG Saur Verlag, Munich 2006, ISBN 3-598-24212-3 , p. 152.
  144. Albrecht Roeseler : Great violinists of our century . New edition reviewed and expanded by Norbert Hornig, Piper, Munich a. a. 1996, ISBN 3-492-22375-3 , p. 10.
  145. ^ Günther Buch: Names and dates of important people in the GDR . 4th revised and expanded edition, Dietz, Berlin a. a. 1987, ISBN 3-8012-0121-X , p. 279.
  146. ^ Gerhard Kohlweyer: Agnes Stavenhagen: Weimar Prima donna between Johannes Brahms and Richard Strauss . wtv, Weimar 2007, ISBN 978-3-937939-01-8 , pp. 275, 288.
  147. ^ Jürgen Stegmüller: The string quartet. An international documentation on the history of string quartet ensembles and string quartet compositions from the beginning to the present (= source catalogs for music history . Volume 40). Noetzel, Wilhelmshaven 2007, ISBN 978-3-7959-0780-8 , p. 62.
  148. Helmut Grohe: Max Strub in memory . In: Mitteilungen der Hans-Pfitzner-Gesellschaft 1966, 16th episode, pp. 2–4, here: p. 4.
  149. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 68.
  150. ^ Elgin Strub: Sketches by a family of artists in Weimar . JE Ronayne, London 1999, ISBN 0-9536096-0-X , p. 73.
  151. Alexis Luko: Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman . Routledge, New York et al. a. 2016, ISBN 978-0-415-84030-9 , p. 174.
  152. See Andreas W. Herkendell: Selling hits and price hits. The record case as a historical document? To a marketing segment of the Cologne-based Electrola and other market leaders . In: Andreas Vollberg (Ed.): From Trizonesia to the Starlight era. Popular music in North Rhine-Westphalia (= Musikland NRW . Vol. 4). Agenda-Verlag, Münster 2003, ISBN 3-89688-172-8 , pp. 264–279, here: p. 267.
  153. Elgin Strub: Max Strub . In: The Strad 101 (1990) 1208, pp. 994-997, here: p. 997.
  154. See search results for "Max Strub" at the AHRC Research Center for the History and Analysis of Recorded Music, charm.rhul.ac.uk, accessed on March 3, 2019.
This article was added to the list of articles worth reading on June 8, 2020 in this version .