From 1966 to 1974, Kubik worked as a repetiteur, coach, and Kapellmeister at the Deutsche Oper am Rhein in Düsseldorf and Duisburg.
Kubik was married to the Baroque scholar, singer and dance pedagogue Margit Legler.
Legler and Kubik have jointly written about[1] and presented productions related to Baroque music, dance, and theatre.
Kubik had earlier declared in print in 2004: This statement has received criticism for multiple reasons, which include: (a) its blanket dismissal of the original score with the Scherzo/Andante order,[7] (b) its expression of a personal preference without documentary evidence and based on subjective animus related to the Alma Problem,[7] (c) for imposing an advance bias instead of presenting objectively, without preconceived bias, the two options of Scherzo/Andante and Andante/Scherzo.
[8] Mahler scholar and biographer Henry-Louis de la Grange has written about Kubik's judgment:[7] Music writer David Hurwitz has likewise written on Kubik's subjective bias towards a single choice, instead of granting performers latitude to make their own choice without advance bias:[8] Hurwitz also notes Kubik's dismissal of the existence of the original version in the pronouncement:[8]