Bernhard Marx


 

Bernhard MarxBernhard Marx began his piano studies with Engelbert Kessler in St Wendel, in Saarland in the south-west of Germany.  He studied the organ with Professor Ludwig Doerr in Saarbrücken and Freiburg, and with Marie-Claire Alain and Gaston Litaize in Paris. From 1972 to 1975 he held a scholarship from the German Academic Exchange Service (DAAD). Masterclasses in Haarlem with Anton Heiller (Vienna) and Luigi Ferdinando Tagliavini (Bologna).

In 1973 Bernhard Marx was awarded Third Prize at the International Bach Competition in Bruges, and in 1979 Second Prize at the International Organ Competition in Saarbrücken.

Since 1972 he has been titular organist at St John's Church, Freiburg, whose famous Metzler organ (with three manuals and fifty stops) was built in 1981 under his guidance.  In 2011 he was additionally appointed titular organist at the Cathedral of St Blasien.
 
He has lectured since 1979, since 1997 as professor of organ, organ music, and history of church music at the University of Church Music in Rottenburg am Neckar.

Since 1987 Marx has been Archiepiscopal Organ Inspector of the Archdiocese of Freiburg and in this capacity is responsible for the restoration, re-building and building of organs.

In 1997 Bernhard Marx was appointed artistic director of the International Cathedral Concerts at St Blasien, in the third largest domed church in Europe (after St Peter's in Rome and St Paul's Cathedral in London).

In 2003 Marx founded the Cathedral of St Blasien International Organ Competition under the patronage of Minister-President Erwin Teufel (Stuttgart) and the Bishop of Freiburg, Dr Paul Wehrle.

Bernhard Marx has given numerous concerts and radio and television broadcasts in Germany, France, Belgium, Holland, Great Britain, Spain, Portugal, Italy, Austria, Switzerland, Poland, USA, Canada, Brazil, Uruguay, Argentina and Japan, and has recorded many CDs.  He is often invited to be a member of the jury for national and international organ competitions.  Concert reviews repeatedly praise his interpretations based on musicological research, as well as his virtuosity and his tonal flair for expressive registrations that are faithful to the original work.