Max Fiedler first studied the piano with his father, who conducted the accompanying orchestra when Max made his first public appearance at the age of ten in 1870, playing Mozart's Piano Concerto in A, K 488.
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Max Fiedler first studied the piano with his father, who conducted the accompanying orchestra when Max made his first public appearance at the age of ten in 1870, playing Mozart's Piano Concerto in A, K 488.
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Max Fiedler graduated in 1882, with exceptional honours, alongside his friend and colleague Karl Muck.
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Max Fiedler studied composition and was active in the city's musical life, developing a close relationship with Julius Spengel, a friend of Brahms.
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Max Fiedler himself knew Brahms sufficiently well for the composer to ask him to substitute for him in a performance of his Piano Concerto No 2, an invitation which Max Fiedler politely declined.
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Max Fiedler returned to Hamburg in 1912, where Siegmund von Hausegger was now in charge of the Philharmonic Orchestra; and since co-residence was likely to be difficult, given his own status as a former conductor of this orchestra, Max Fiedler withdrew to Berlin, where he became an active guest conductor of the city's various orchestras.
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At Essen, Max Fiedler consolidated his reputation as a major figure in German musical life, conducting a wide repertoire that included contemporary composers such as Walter Braunfels, Karol Szymanowski and Arthur Honegger, as well as each year organising a festival devoted to a major single composer.
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Max Fiedler made several commercial recordings, all of music by Brahms, apart from two overtures by Weber.
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Max Fiedler recorded the Academic Festival Overture, Symphony No 2, two movements from the Piano Concerto No 2 and the Symphony No 4 with the Berlin Philharmonic Orchestra.
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Dyment concluded that in Max Fiedler's recording of the Symphony No 4, for instance, '…Brahms's demands for flexibility are here supplied in over-abundance.
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Nonetheless, even if Max Fiedler's recordings do represent a highly individualised interpretative approach, they still allow a fascinating glimpse into a world of musical performance only imperfectly chronicled, for historical reasons, by the gramophone.
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Max Fiedler gave a paper entitled, "A New Theory of Diesel Combustion" in 1939, the year his father died, at the Franklin Institute in Philadelphia, Pa.
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