Soon after finishing his legal studies, Marx removed to Berlin, as the place where he could best enjoy the means of artistic culture. "For one quite without fortune, merely to live in a strange city demands great strength of character; but to go farther and fit one's self for a career and for a position in the future, which even under the best auspices is of very difficult attainment, and, beside all this, to have others dependent upon him for the necessaries of life,—what a burden to bear! ….. By a very intellectual system of instruction in singing and in composition, and, at a later period, (1824-81,) by editing the 'Berliner Allgemeine Musikzeitung,' and several theoretical and practical musical works, he earned the means of subsistence. Never was a periodical more conscientiously edited. It was for Marx like an official station, and his seven years upon that paper were in fact a preparation for the position of Public Teacher, to which in 1830 he was appointed, in the University at Berlin, after having declined a judicial position offered to him, with a fair salary, in one of the provinces. Honorably has he since that period filled his station, however great the pains which have been taken in various quarters that it should not be said of him, 'Virtus post nummos!'"[2]
"The diploma of Doctor of Music Marx received from the University at Marburg; and thereupon (?) obtained the greatest applause for a course of lectures, in part strictly scientific for the musician, and in part upon the history of music, its philosophy, etc.; also, as Music-Director of the University, he has brought (1841,) the academic choir into such a flourishing state, both as to numbers and skill, as to be adequate to the most difficult music."[3]
Again we read,—"We remember, that, some time since, Fetis, at Paris, pointed out Marx as the one who had introduced the philosophy of Kant into music." Were this so, so much the more credit to Marx, who, at that time, we are informed, had never studied the works of the philosopher of Königsberg, and his basing music upon the Kantian philosophy is therefore but a proof of the profundity of his genius.
From the same article we extract the following list of his productions:—1. A work on Singing, in three parts; the second and third of which "contain throughout admirable and novel remarks." 2. "Maigruss" (Maygreeting). "This pamphlet, humorous and delicate, yet powerfully written," calls attention to certain novel views of its author in regard to music. 3. Articles in the "Cäcilia," a musical periodical. 4. Essay on Handel's works. 5. A work on Composition. 6. Several biographies and other articles in Schilling's Encyclopædia,—"indeed, all the articles signed A. B. M." 7. Editions of several of Bach's and Handel's works. To these we may now add his extensive treatise upon Musical Science, in four volumes, his "Music in the Nineteenth Century," and the work which is now before us.
Of musical compositions we find the
[Footnote 1: Article in Schilling]
[Footnote 2: Article in Schilling]
[Footnote 3: Ibid.] following noticed:—1. Music to Goethe's "Jery und Bätely,"—which, in theatrical parlance, was shockingly damned;—but then "its author had made many enemies as editor of the 'Musikalische Zeitung,'" and the singers and actors embraced this opportunity of revenge. 2. Music to the melodrama, "Die Rache wartet," (Vengeance waits,) by Willibald Alexis, the scenes of which are laid in Poland at the time of Napoleon's fatal Russian expedition. "This background was the theme of the music, which consisted of little more than the overture and entr'actes, but was held by musicians of note to be both grand and profound. The character of the campaign of 1812, especially, was given in the overture with terrible truth of expression. Still, however, the work did not succeed." 3. "Undine's Greeting," text by Fouqué, with a festive symphony, composed on occasion of the marriage of the present Prince Regent of Prussia. This was also damned,—but then, it was badly executed! 4. Symphony,—"The Fall of Warsaw,"—still manuscript. "The music paints most touchingly the rash, superficial, chivalrous character of the Poles, their love of freedom amid the thunder of cannon, their terrible fall in the bloody defeat, their solitary condition on strange soil, the awful judgment that fell upon that people." We are sorry to add, that the Berlin orchestras will not play this work,—preferring Mozart, Haydn, Beethoven. 5. A Choral and Organ Book,—"one of Marx's most interesting works." 6. "Nahib,"—a series of songs, the music of which "is gentle, tender, and full of Oriental feeling." 7. "John the Baptist," an oratorio,—twice performed by the University choir in one of the churches of Berlin. "A great charm is found in the peculiar sharpness of characterization which distinguishes this music. The solos and choruses, being held throughout in spirited declamation,—the music not being aggregated in conventional tone-masses, but developed vigorously after the sense of the text,—are distinguished from those in the works of recent composers." Unfortunately for Marx, the public preferred the solos and choruses of such recent composers as Meyerbeer, Mendelssohn, and Schumann to his. A few songs and hymns completed the list of his works at that time.
"At present," (1841,) says our authority, "Marx is laboring upon an oratorio, 'Moses,' for which he long since made studies, and which in its profound conception of character will have but few equals."
The "Moses" was long since finished, and was performed in several places; but the public has not proved alive to its merits, and it fares no better than did Beethoven's Ninth Symphony in its nonage.