Martin Scherber

With his great gift for everything technical, it was generally assumed he would become an engineer and for this reason he attended the secondary modern High School (Oberrealschule, today: Hans Sachs Gymnasium).

At this time, he was having advanced piano lessons with the Nuremberg opera conductor, Karl Winkler.

Here he also occupied himself with basic theoretical questions of knowledge, that is, the integration of an active selfconsciousness within a consciousness for the world.

In September 1929 he took a position as répétiteur in Aussig on the River Elbe and after a short time he became conductor and choir leader.

To this belonged the "ABC", a piano cycle in which he attempts to catch the mood of German sounds of speech.

Beyond this, they strove to create a world-music through taking in musical elements from as many cultures as possible, appropriate for the scientific-technical-industrial civilization of the whole world.

He spoke, as also others of his generation, from an active, new beginning in music which had to be consciously formed and which would lead far above the present classical heights.

The musical moving force for the new qualities become the themes which centralize everything with their weaving metamorphoses [2][permanent dead link‍] and strict rhythms, as also the dissonances and harmonies.

For Scherber, the symphony in its universality matured through the centuries, was the historic resounding of human striving to consciously partake in the processes of world creation.

Consistently, Scherber's symphonies show a relationship with the works and intentions of the great pacemakers of symphonic tone.

Could one not hear ever and again from composers, not only from Ludwig van Beethoven: "It belongs to the rhythm of spirit, to grasp music in its beinghood.

In this way he was robbed of his physical faculties to continue with his musical work and confined over years to a wheelchair.