Download Vlc024 Goltermann, Georg PDF

TitleVlc024 Goltermann, Georg
TagsConcerto Cello Classical Music Pop Culture Musical Compositions
File Size157.4 KB
Total Pages9
Table of Contents
                            Principal Compositions of GOLTERMANN by Opus Number
Document Text Contents
Page 2

GOLTERMANN, Georg – a largely

forgotten German romantic cellist
Born: 1824, 19th August (Hannover)

Died: 1898, 29th December (Frankfurt am Main)

Goltermann's father was an organist, and therefore he got an early
introduction to music. He received cello lessons from A. Ch.Prell, and
from Joseph Menter during Goltermann’s two-year stay in Munich (1847-
1949) and was noted there for his compositional talents. He also had
composition instruction from Lachnar, who himself had written a
medium-scale work for a quartet of cellos.

During the 1850’s he was touring Europe as a solo cellist, often performing
his own works. There were plentiful journeys, but alas little has been
recorded of them. In 1857 he became music director in Würzburg.
However, he only remained there for one year because in 1858 he accepted
an offer to become deputy music director of the municipal theater
Stadttheater in Frankfurt-am-Main, where he was promoted to
Kapellmeister (Main Director) in 1874.

Georg Goltermann died in 1898.

His first three cello concertos, virtuoso vehicles, were popular in the mid-
19th century. In all, Goltermann wrote a number of cello concertos,
generally believed to number five, but in fact he produced some seven or
eight works in this genre. The most famous today surely is the fourth
concerto. This concerto is considered the "student's concerto" because it is
the easiest of his concerti, and it is still studied fairly widely. Although
quite ‘easy’ both technically for the cellist and not particularly ambitious
harmonically-speaking if one compares him with giants such as Liszt and
Wagner by his side, the work is never-the-less very well-constructed and
offers the performer and listener a sense of being a true soloist concerto.
His piece captivates the listener with a rich vein of melody in the first
movement, an expansive and elegiac slow movement, and a wittily
amusing Allegro molto as a finale. It does not require knowledge of thumb
positions and is a perfect teaching piece for medium level students.

Page 3

His other concertos are now occasionally practised by students in order to
push their technique and also get a basic understanding of the concerto
(the orchestral writing is straight-forward and is comfortable for the
soloist to hear). Perhaps the most difficult concerto of all is the First
Concerto, due to the many runs in thirds and octaves – it certainly has a
sense of ‘bravura’. Unfortunately, nowadays his virtuoso music is rarely if
ever performed in professional concerts and is deemed to lack the
musicality of true concertos. Adding to the above, Concerto No. 1 was the
one most played professionally up to the early 1900s and again after World
War I, especially in the Germanic lands. The slow movement entitled
Cantilena was often played separately as a cello solo. An early recording
still exists of this played by Pablo Casals. However the first and third
movements use the same material, and this in cello writing is for some
reason very difficult to bring off (the Dohnanyi Concert Piece, Op.8,
suffers somewhat in the same respect).

Many of Goltermann's shorter solos were frequently in the repertoire up to
the 1920s, and beyond. As Chandos and other recording companies are
frequently reviving the works of forgotten composers it might be worth
while to revive some of Goltermann's if only to see the reaction of the
public and of present day critics. For example, the present writer has
performed a number of times two short cello quartet pieces – Romance
and Serenade Op.119, and these are indeed some quite delightful short
romantic writing, both pieces in ternary form.

Goltermann was an intelligent musician, even if we have few anecdotes to
go by. For example, Grieg highly recommended Goltermann’s
arrangement of his Peer Gynt Suite No. 1, which he considered very high
quality transcription making. Unfortunately some of the finest
transcriptions were only published at the end of his life, and have not thus
entered the general cellists’ repertoire. After his death, at the very end of
the 19th century, it would be fair to say that although ‘salon music’ would
still command a respectable place among musicians, its hey-day was
passing – leaving both the original pieces and the fine transcriptions of
Goltermann out ‘in the cold’. I would suggest that it is time for a revival, or
at least a reappraisal, of his work and achievements.

Georg Goltermann should not be confused with Julius Goltermann (1825-
1876), the cellist teacher of David Popper. In his book on David Popper,
even Steven De’ak confuses Popper’s teacher Julius Goltermann [1825–76]
with Georg.

Page 4,_Georg),_Georg),_Op.51_(Goltermann,_Georg),_Georg),_Op.48_(Goltermann,_Georg),_Georg),_Op.36_(Goltermann,_Georg),_Op.35_(Goltermann,_Georg),_Op.30_(Goltermann,_Georg),_Op.15_(Goltermann,_Georg),_Op.14_(Goltermann,_Georg)

Page 5

Op.61 - 2nd Sonatine in G major, for viola and piano
Op.65 - Concerto No.4 in G major, for cello and piano
Op.65 - Consecration Hymn for 4 cellos
Op.66 - Fantaisie to Oberon from Weber
Op.67 - Concerto No.5 in D minor, for cello and Piano

(occasionally given with the number Op. 76)
Op.81 - Ballade in G major
Op.88 - Elegie in C minor
Op.90 - 3 Romances Sans Paroles for cello and Piano
Op.92 - 3 Morceaux de Salon (with piano)

No.1 - Nocturne in E minor for cello and piano
No.2 - Reverie in G minor
No.3 - Romances in F major

Op.95 3 Romances symboliques
No.1 - La Foi No.1 for cello and piano
No.2 - La Charite in A major
No.3 - L'Esperance in F major

Op.97 - 6 Tonbilder (Tone Poems)
No.1 - Ballade in D minor
No.2 - Scherzetto in G minor
No.3 - Trauermarsch in E minor
No.4 - Stiller Glück in F major
No.5 - Sehnsucht in G major
No.6 - Auf der Jagd. in D major

Op.98 - Fantaisie on melodies of Mendelssohn
Op.103 - Concerto No.7 in C major
Op.108 - Notturno in F major
Op.115 - 3 Morceaux faciles

No.1 - Serenade in G major
No.2 - Idylle in A major
No.3 - Nocturne in A major

Op.119 Two Pieces for Four Cellos
No.1 - Romance for 4 cellos
No.2 - Serenade for 4 cellos

Op.120 Pieces choisies (Transcriptions)
No.1 - Am Meer (Schubert)
No.2 - Kirchen-Aria (Stradella)
No.3 - Litaney (Schubert)
No.4 - Das Fischermädchen (Schubert)
No.5 - Larghetto (from Clarinet Quintet from Mozart)
No.6 - Sei mir gerüsst (Schubert)
No.7 - Elegie (Ernst)

Op.121 - Opera Transcriptions
No.1 - Idomenee (Mozart)
No.2 - Idomenee (Mozart)
No.3 - Zaide (Mozart)
No.4 - Cosi fan tutti (Mozart)
No.5 - Iphigenie en Tauride (Gluck)
No.6 - Medee (Cherubini)

Op.125 - 3 Nocturnes
No.1 - G major / No.2 - E flat major / No.3 - F major,_Georg),_Op.90_(Goltermann,_Georg),_Op.76_(Goltermann,_Georg),_Op.65_(Goltermann,_Georg),_Op.61_(Goltermann,_Georg)

Page 6

Op.128 - 4 Pieces with piano
No.1 - Ballade in B flat major
No.2 - Intermezzo in D major
No.3 - Notturno in C major
No.4 - Wiegenlied in G major

Op.130 - Cello Concerto No.8 in A major
Op.132 - 2 Pieces for cello and piano

No.1 - Etude in E minor
No.2 - Trauer and Trost in C minor

Op.133 - Vito in F major
Transcription of Sandmännchen from Hänsel und Gretel by Humperdinck,
Engelbert for cello and piano

Man of Sorrows By George Goltermann (1824-1898). Arranged by Gary Parks. For
SATB Chorus and piano reduction. Bible Reference: Isaiah 53. Choral. Sacred. I
have little knowledge of this work, but would appear to show Goltermann in
other musical fields than purely cellistic ones …

There are still too many ‘holes’ left in the opus list. Perhaps most of the
works not mentioned above have simply disappeared for good. But for
those who might know more then johnstone-music would be eagerly
awaiting to hear from you!

One can see that here was a cellist absolutely dedicated to his instrument,
providing a wealth of literature for the following generations of cellist
musicians. He was not to know how the musical patterns and climates
would soon radically change with the oncoming of impressionism, serial
music, neo-classical music, jazz-influenced music etc. but his fine opus list
is manifest of his unselfish contributions.

DAVID JOHNSTONE,_Engelbert),_Engelbert)

Page 7

johnstone-music is a most interesting and very active web page of the British
born, now Spanish-based composer, arranger and cellist DAVID JOHNSTONE –
a Web page very highly regarded by English-speaking musicians of many nations.

- Almost everything is also offered in Spanish -

What can the web page offer you?

FREE downloads of many original and interesting compositions – these
scores, not commercially published, include pieces for bowed string instruments
(violin, viola, cello and double bass), woodwind (flute, oboe, clarinet, bassoon),
brass, piano and accordion. Chamber music is well represented, and not just by
duos, trios or quartets, but also for larger groupings right up to pieces for string
orchestra (suitable in scope both for youth orchestras and professionals).

FREE downloads of transcriptions for Cellists (classical and popular music)
with solos, and pieces for ensembles of varying sizes from duos up to cello
orchestras. A substantial section …

A colourful PDF catalogue of all the many important published works (from the
editor CREIGHTON’S COLLECTION) is also available from the home page of
johnstone-music, as a FREE DOWNLOAD.

FREE downloads of ARTICLES – in two main sections; one of general
musical themes, and the other relating specifically to matters of the
Violoncello – written by a wide range of professional musicians. Also a
Directory/Library with information about Famous Historical Cellists
(some 600 cellists are included), and exhaustive chronological lists of
general cello recital repertoire.

Biographies, performances, audio extracts (some 50 or so), images, links,
recordings, chamber music formations, current projects, composition list,
sales of CDs and published sheet music etc. –

Interactive sections: Diary, News, Contact, Suggestions, a quick survey,
comments etc. Also a section of useful tools for musicians. Leave your
opinions, and receive free publicity of any performance of a work or
arrangement of David Johnstone, with links to your web page (or that of
the organizers), if desired.

Worthwhile exploring !

Page 8

Similer Documents