Reviewed by: Recollections from My Life: An Autobiography by Adolph Bernhard Marx trans. by Stephen Thomson Moore Floyd Grave Recollections from My Life: An Autobiography by Adolph Bernhard Marx. Translation by Stephen Thomson Moore, introduction and notes by R. J. Arnold. Lives in Music Series, no. 14.) Hillsdale, NY: Pendragon Press, 2016. [xxi, 230 p. ISBN 9781576472491 (paperback), $70.] Illustrations, bibliography. Adolph Bernhard Marx (1795–1866) was nearing the end of an illustrious career as a music theorist, journalist, critic, biographer, and composer when he wrote his Erinnerungen: Aus meinem Leben in late 1864. Undertaken while he was recuperating from illness, the project offered him an opportunity to reflect on successes, failures, hopes, and disappointments, and to ponder deeply the life experiences that informed his outlook and self-knowledge. As he describes in an afterword, dated 4 March 1865, the effort gave rise to impressions so vivid that it seemed he was living his life "a second time" (p. 229). The document that resulted, published by the Berlin firm of Otto Janke in 1865, comprises two volumes of sixteen chapters each. Marx begins as one might expect, with childhood images and accounts of personal development involving family, friends, school, music lessons, and the like, but eventually the chronological thread loosens, especially in the second volume, where the succession of chapters—with titles such as "The Mendelssohn House," "Travel and Recreation," "The Wide World," and "Friedrich Wilhelm IV"—suggests something more akin to an album of snapshots ("pictures of my past" [p. 229]) than a cohesive autobiographical narrative. [End Page 296] Exercising a phenomenal memory, in language that is sometimes more spontaneous than polished, often verbose, and nearly always colorful and engaging, Marx presents himself as a tirelessly wide-eyed observer, a shrewd and inquisitive portraitist, an avid limner of cities and landscapes, and an active participant in the cultural life of his times, eager to enjoy the artistic and intellectual companionship of contemporaries. He takes due pride in his stature and accomplishments, but the spotlight shines brightly on the author himself only on special occasions, most notably when he describes the hugely successful 1843 performance of his oratorio Mose in Erfurt (p. 207). Otherwise, instead dwelling extensively on his own achievements, he invites us to join him as spectators in a ramble through the stations of his career and to see through his eyes the people, places, and events that impressed or influenced him most deeply. Prominent names pass in review, including E. T. A. Hoffmann, Robert Schumann, Niccolò Paganini, Angelica Catalani, Ignaz Moscheles, Friedrich Kalkbrenner, and Franz Liszt; facets of artistic activity in early nineteenth-century Berlin come into sharp focus, most notably in the realms of opera, spoken theater, and ballet. Marx also expounds in revealing detail on his acquaintance with two major figures of the time: Gaspare Spontini, whose tenure as music director in Berlin was marked by turbulence and ultimate disgrace, and Felix Mendelssohn, with whom he enjoyed, for at least a time, a warm working relationship. Marx's reminiscences naturally concentrate on the urban environments in which he flourished. Yet some of the most heartfelt, evocative passages in the book concern memories of escape to the countryside. Displaying a finely tuned, romantic sensitivity to the natural world, his commentary on days spent wandering through Thuringia, and eventually as far south as Innsbruck, includes passages that leap off the page as fragments of a veritable pastoral symphony in prose. Given the scarcity of biographical material on Marx in any language, Stephen Thomson Moore's translation of the Erinnerungen makes a welcome addition to Pendragon's Lives in Music series; its value is enhanced by the contributions of Moore's collaborator, R. J. Arnold, who provides not only a wealth of explanatory footnotes but also an informative introduction that supplies historical perspective and cultural orientation. Arnold observes that the very concept of a musician's autobiography was still a novel idea in Marx's day, inspired by "a belief that one's inner life ought to be at least as important as the events that take place externally" (p. x). He classifies Marx as a "thoroughgoing Hegelian" (p. xvi), noting his "groping towards, grasping of, and eventually...