Franz Max Gürth

Franz Max Gürth was born in Vienna (Austria) in 1883. According to the student registers of the Vienna Conservatory, his date of birth was 1 January 1883. However, an unusually large number of students in these registers are listed as having been born on 1 January, suggesting that this date may have been used as a placeholder when the exact birthday was unknown. Therefore, Gürth's precise date of birth remains uncertain. During the academic year 1897/98 he studied violoncello under Reinhold Hummer at the Vienna Conservatory.
In the following years Gürth continued his musical education at the Music and Opera School of Professor Liebig in Vienna. In 1901 he 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.
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. 
By 1908 Gürth had settled in Leoben in Styria, where he worked as a choir director and music teacher. Contemporary newspaper reports document his participation in public concerts and his work with local choral ensembles, including performances organised by workers' associations.
In the following years he became closely associated with the church music of Leoben, particularly at the parish church of St. Xaver, where he served as choir director. On 22 August 1912 the Grazer Volksblatt reported the first performance of his Missa brevis in E-flat major, op. 30, for choir, organ and orchestra. The work was performed during a church festival at the Waasen parish church in Leoben under the direction of Reinhold Fischer.
Gürth was also interested in organ building and church music research. In 1913 he published an article titled "Die neue Orgel in der Dekanatspfarrkirche in Leoben" in the "Anzeigeblatt für Kirchenmusik, Orgelbau und Glockenkunde". The article described the new organ at St. Xaver and was later cited in studies of the musical history of Leoben.
Besides his activities in church music, Gürth continued to compose for other occasions. In March 1914 his music accompanied a series of Easter plays organised by the Christian Social Workers' and Popular Education Association in Leoben. Newspaper reports from 1917 also document his participation as a choir director in local celebrations and religious ceremonies.
During the 1920s Gürth remained an important figure in the musical life of Leoben. In May 1925 the Grazer Volksblatt praised the work of the church music association under his direction, particularly performances of Schubert's Mass in G major and Rudolf Glick's Missa solemnis. The report specifically acknowledged Gürth's continuous efforts as director of the association.
On 3 November 1932 Gürth conducted a performance of Joseph Haydn's oratorio The Creation in Leoben. A detailed review published two days later praised the performance and emphasised Gürth's achievement in bringing the work back to the city's musical life after a long absence.
Little is known about Gürth's later life. However, his compositions continued to be performed and broadcast. On 5 August 1949 Austrian Radio announced a concert featuring works by Max Gürth alongside compositions by other Austrian composers.
The date and place of Franz Max Gürth's death remain unknown.

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.