Felix Maria Gatz - The Forgotten Bruckner Pioneer

This is the first ever recording of Bruckner's Te Deum and is the only existing recording featuring Felix Maria Gatz conducting the music of Bruckner. The recording was made on December 19, 1927. 

BRUCKNER: Te Deum (excerpts) (7'46")
-The Deum laudamus
-Tu rex gloria, Christie


-Felix Maria Gatz
-Staatskapelle Berlin
-Bruckner Choir
-Emmy von Stetten, soprano
-Julia-Lotte Stern, alto
-Karl Joeken, tenor
-Theodor Hess van der Wyk, bass

German Odeon pressing O-6572
(Matrix XXB 7901 and XXB 7902)

Orig issue GERMAN ODEON 12" 78 rpm record

Condition: Better than EXCELLENT PRISTINE  plays EXCEPTIONALLY QUIET rare ticks

A CHOICE COPY

Felix Maria Gatz was born in Berlin on May 15 of 1892. He studied at the Universities of Berlin, Heidelberg and
Erlangen and received his Doctor of Philosophy degree in 1917. He studied conducting under Artur Nikisch and
conducted the Lübeck Civic Opera from 1922 to 1923.1 Other activities included teaching positions in Vienna,
Leipzig and Berlin. 2 His conducting activities took him to Vienna, Breslau, Dresden and Budapest. 
In 1923, Gatz became the Founder of the Bruckner Society in Berlin and as the chief conductor for the Society
proceeded to schedule numerous performances of Bruckner’s music. From the list below, given both
chronologically and numerically in terms of compositions, it can be seen that Felix Maria Gatz was clearly the
greatest proponent of Bruckner’s music at that time.

These Bruckner Society concerts were performed by the Bruckner Society Orchestra, which was essentially the
same players as the Berlin Philharmonic Orchestra. Thus it can be said that the Berlin Philharmonic’s long
association with the music of Bruckner took seed under the guidance of Felix Maria Gatz. During the 1927/28
concert season, Gatz conducted the first Bruckner cycle in Berlin (Symphonies 1-9 plus the Overture in G Minor).4
It should be noted however, that Gatz was not a “Johnny One Note.” His repertoire was wide and far-reaching and
included orchestral, choral and operatic presentations.

But in the 1930s, the political scene in Germany was changing rapidly and as the National Socialists gained power,
they aligned themselves with the International Bruckner Gesellschaft, a parallel organization but one that was a
better fit for the ideologies of the Third Reich. During the next few years, the IBG became linked to the activities of
the Bruckner–Gesamtausgabe and the cultural festivals organized by the Nazi Propaganda Ministry. With these
shifts, the Bruckner Society quickly found itself without government financial support and Gatz, being Jewish, saw
an immediate need to abandon his activities and to further his career elsewhere. During this time, Professor Gatz
was assisted by the Emergency Committee in Aid to Displaced German Scholars which was founded in New York
City in 1933 to assist scholars who were barred from teaching, persecuted, and threatened with imprisonment by
the National Socialists. In a report prepared by the Emergency Committee in May of 1937, Professor Gatz is listed
as the recipient of a grant for the academic year of 1934-35.6 As Gatz left for the United States, his colleague Franz
Moissl wrote a tribute to his departing friend. It was written both as a tribute and a reference for Professor Gatz as
he embarked on a new career.7
In May of 1934, it was announced that Gatz would become Professor of
Aesthetics at the College of Liberal Arts at Duquesne University in Pittsburgh,
Pennsylvania. His position was endorsed by Rev. J.J. Callahan, President of
Duquesne University. He arrived in Pittsburgh on August 27, 1934, and
immediately stated his goals. “My first aim, now that I am in this country, is
to serve Duquesne University. My second is to introduce the works of
Bruckner to the American people through my teachings here.”8 His teaching
duties would commence in September of that year.9
As soon as Professor Gatz arrived in Pittsburgh, he began a new phase of
Bruckner promotions. Using the new medium of radio, he immediately set
out on a series of radio lectures on Bruckner. The lectures were broadcast over radio stations KQV (ABC Network)
and WJAS (Columbia Network).
10 The Bruckner Society of America took note of this extraordinary activity, and it
may be best to let their article in “Chord and Discord” describe his activities.
It should be noted that Professor Gatz was also active in establishing a student orchestra and choir at Duquesne.
During his tenure, he presented a series of “educational concerts” where he preceded each work with a short
presentation. In October of 1934, he was busy preparing for a performance of Wagner’s “Parsifal.” He also
introduced the concept of an Opera Ball, where a Christmas holiday dance would be preceded by a short opera. In
December of 1934, he scheduled such an event with arias from Mozart’s opera “Bastien and Bastiene.” The soprano soloist at this event was Lura Stover (1914-2009) who was well known to concert audiences in and around
Pittsburgh.
13 Over the course of the next year, Gatz presented several concerts where Miss Stover was featured.
Their collaboration soon blossomed into a full romance. Now, Professor Gatz had yet another project to pursue as
he became interested in furthering his Lura Stover’s career.
In May of 1936, there was a major restructuring at Duquesne. Professor Gatz’s mentor, J.J. Callahan took a writing
sabbatical. The new acting president, Father Stephen J. Byran eliminated six positions. The eliminations included
the Dean of the School of Music and Professor Gatz. Both were released from their positions at the end of the
academic year.14 15 Professor Gatz’s position was already in jeopardy since his renewed grant from the Emergency
Committee in Aid of Displaced German scholars expired that year.
16
Felix Gatz and Lura Stover moved to New York City, and they were married in Manhattan on July 13, 1937. They
lived at 61 West 106th Street.17 During the 1937 academic year, Gatz lectured at New York University. This
temporary position was arranged via the Emergency Committee. 18
 During his time at NYU, he attended the
International Congress of Aesthetics and Science of Art in Paris where he was appointed a permanent member of
that committee.
19 In September of 1937 it was announced that Professor Gatz would be joining the faculty at Saint
Thomas College in Scranton, Pennsylvania.20
 As Gatz moved from one position to another, he must have realized
his tenuous position. In Germany, his status was well documented and celebrated, but due to the National Socialist
takeover, all of that recognition and security had been stripped away. Now it seemed that his career – from Berlin
to Pittsburgh and now Scranton - was in a downward spiral.
Upon arrival, Gatz was quick to get things started
once again. He formed a choral group and a
student orchestra, and he began producing opera
productions including “Parsifal,” “Il Trovatore,”
and “The Barber of Seville,” all presented at the
newly constructed Masonic Temple. His wife, Lura
Stover was featured in several productions to
great critical acclaim. In spite of numerous
setbacks, Felix Gatz was determined to
restructure his career.
In May of 1938, Gatz became a US citizen. When
interviewed by the press, he stated, “I am both
happy and proud to become an American citizen,
for two reasons. To me, being an American means
to be a democrat and a pioneer, two things which
I love with all my heart."