Adolf Busch: The Violinist Who Stood Up to Fascism

German violinist, Adolf Busch (1891-1952)
German violinist Adolf Busch (1891-1952)

Tully Potter’s collection of books and CD’s, Adolf Busch- The Life of an Honest Musician, published in 2010, tells the remarkable story of one of the twentieth century’s greatest violinists. In the years leading up to the Second World War, Adolf Busch toured Europe as an exponent of the classic German style of violin playing, which had been associated with Joseph Joachim. The leader of the Busch Quartet, as well as a chamber orchestra, Busch’s approach to violin playing favored musicianship over dazzling displays of virtuosity.

The rise of Hitler in the late 1920s tested the eternally political and backbiting classical music profession. Musicians such as Wilhelm Furtwängler and Richard Strauss reportedly didn’t approve of the Third Reich (neither joined the Nazi Party), but both tolerated Hitler, motivated by career preservation. As Potter’s book recounts, the Busch Quartet arrived in Berlin on April 1, 1933, the day the Nazis began a targeted assault on Jewish businesses. Following the evening’s concert, Busch, who was not Jewish, cancelled his entire German tour. He settled in Switzerland and watched as fascism spread throughout Europe. Hitler’s efforts to lure back “the world’s greatest German violinist” fell on deaf ears. 

Eventually, Busch emigrated to the United States. He never regained the reputation he had enjoyed in Europe. American audiences were enthralled with younger, flashier artists such as Jascha Heifetz and Busch’s style of playing may have seemed out of date. Listening now, it’s easier to recognize Busch’s artistry. The recording below showcases a deep and mature musicianship, a straightforward and honest sense of timing and a beautifully pure sound.

Yehudi Menuhin hinted at similar attributes as he remembered lessons with Adolf Busch:

Busch’s teaching was…musical rather than violinistic. If he didn’t have Enesco’s flair or glamour, as a musician he was extremely serious and deep, a passionate fundamentalist who ate, breathed, and slept Bach and Beethoven. He played the violin cleanly and beautifully, if with no Russian or Gypsy touch.*

Here is a 1930s recording of Busch and pianist Rudolf Serkin playing Brahms’ Violin Sonata No. 2 in A major, Op. 100. The duo founded the Marlboro Music School and Festival in 1951.

Here are the second and third movements. Also listen to the Busch Quartet’s dramatic and fiery reading of Schubert’s “Death and the Maiden” String Quartet. 

Adolf Busch was also active as a composer. Listen to his Violin Concerto here. Read this review and watch this video to learn more.

*Great Masters of the Violin, Boris Schwarz (pg. 327)

Death and the Maiden

Following up on last month’s post, let’s return to the music of Franz Schubert. Now we’ll hear how Schubert cleverly turned the melody of one of his songs into the second movement of a string quartet.

Let’s start by listening to the song Death and the Maiden, written in 1817.  It’s performed here by the legendary contralto, Marian Anderson.  The text is from a poem by Matthias Claudius.  Follow the English translation below.

Death and the Maiden D.531…Franz Schubert (1797-1828)

The Maiden:

Pass me by! Oh, pass me by!
Go, fierce man of bones!
I am still young! Go, rather,
And do not touch me.
And do not touch me.

Death:

Give me your hand, you beautiful and tender form!
I am a friend, and come not to punish.
Be of good cheer! I am not fierce,
Softly shall you sleep in my arms!

Did you notice all the ways Schubert musically evokes the mood of the poem? The repeated rhythm suggests a solemn funeral procession, perhaps a march towards inevitability.  We hold our breath in anticipation as the same note is repeated in the melody, while the harmony underneath changes.  One interesting aspect of the melody is that it modulates from the key of D minor to F major (1:39) and then slides back again.  These keys are related because they both have B-flat as their only accidental.  Did you notice the sudden and transformative shift to D major at the end?  Consider the significance of Schubert’s choice to turn minor into major at this moment.  What emotional impact does this create?

Eight years after writing this song, at a time when Schubert was confronting his own mortality, he returned to this melody for the second movement of a string quartet.  First you will hear the melody played simply, without embellishment. Then, Schubert launches into a series of brilliant variations that feature different instruments of the quartet.  It’s amazing how many new musical ideas and contrasting moods can spring from this simple tune!

String Quartet No. 14 in D minor (Death and the Maiden) D.810…Franz Schubert (1797-1828)

II. Andante con moto

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Now that you have heard this excerpt you may be inspired to listen to the other three movements of the quartet.  Pay attention to the exciting interplay between the four voices (two violins, a viola and a cello) as musical ideas are passed back and forth.  I think you’ll agree that from the fiery opening of the first movement to the fast and wild Presto it’s an exhilarating and sometimes terrifying musical roller coaster ride. Here are links to the rest of the piece: I. Allegro,  III. Scherzo Allegro molto IV. Presto.  

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