Franz Max Gürth

Franz Max Gürth was born on 1 January 1883 in Vienna (Austria). During the academic year 1897/98 he studied violoncello under Reinhold Hummer at the Vienna Conservatory. He also received instruction in violoncello from Rudolf Glick and in organ from Julius Böhm, and continued his musical education at the Music and Opera School of Professor Liebig in Vienna.
In 1901 Gürth was mentioned in a review of a student concert, and in February 1902 he performed works by Camille Saint-Saëns and other composers on the violoncello. Another concert review from April 1902 praised his abilities as a cellist. He subsequently became a solo cellist at the Vienna Volksoper and worked as an organist and choirmaster at various churches in Vienna.
During his years in Vienna Gürth was also active in chamber music. An autograph composition dated 1 May 1904 contains a dedication to his friend Karl Schreinzer (1884–1960). In this dedication, Schreinzer is described as the first violinist of the "Gürth-Quartett", providing evidence of a chamber ensemble bearing the composer's name.
In January 1912 Gürth was appointed choirmaster and organist at the parish church of St. Xaver in Leoben, Styria. He also taught violoncello at the local music school and later worked as a singing teacher at the Gymnasium. 
Gürth became an important figure in the musical life of Leoben. Besides his work at St. Xaver, he conducted various choral ensembles and established a church music association. He was also involved in the installation of the new organ at St. Xaver, which was inaugurated on 19 September 1914. His activities extended beyond church music, and he participated in chamber music performances and public concerts. During the silent film era he also played the violoncello in an orchestra accompanying film screenings in Donawitz.
Due to health problems Gürth retired in 1925, although he continued his musical activities in the following years. On 3 November 1932 he conducted a performance of Joseph Haydn's oratorio "The Creation" in Leoben. A contemporary review praised the performance and emphasised his achievement in bringing the work back to the city's musical life after a long absence. In 1933 Gürth was awarded the honorary title of Professor in recognition of his musical achievements.
As a composer Gürth was particularly active in sacred music, but his output also included chamber music, songs, orchestral works and salon music. His compositions include several masses and requiems, the symphonic poem "Eroica (Beethovens Sterben)" op. 47 (1927), and numerous works for violoncello. In 1926 he also composed a prelude for the silent film "Die zehn Gebote". Several of his sacred compositions were published by the Vienna music publisher Anton Böhm & Sohn.
Franz Max Gürth died in Leoben in 1957. The exact date of his death has not yet been established.

Much of the biographical information presented here is based on Martin Österreicher's master's thesis "Die Kirchenmusik an der Stadtpfarrkirche St. Xaver in Leoben im 20. Jahrhundert".

In my possession are two autograph music manuscripts by Franz Max Gürth, both composed for two trumpets, horn and trombone.

The first composition is titled "An eine Wienerin – Reverie" and is dated "Wien, 1 Mai 1904". The manuscript is dedicated to Gürth's friend Karl Schreinzer (1884–1960), who is described as the first violinist of the "Gürth-Quartett" and elsewhere as the first trumpeter of the "Schreinzer Blechquartett". The composition may therefore have been intended for the latter ensemble.
The second composition is titled "Abendlied" and is likewise scored for two trumpets, horn and trombone. The autograph manuscript is undated.
I have not been able to locate any published editions or documented performances of either composition.