Description

GOLTERMANN – Romance, Op.119 No.1 – FOUR CELLOS

PDF 1 – Score and all individual parts
It is unusual to find a general score of this music!

NOTES ON THE COMPOSER-CELLIST

Born: 1824, 19^th August (Hannover)
Died: 1898, 29^th 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, but he wrote (at least) seven in all. Many of Goltermann’s shorter solos were frequently in the repertoire up to the 1920s, and beyond, and still delight today!

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 19^th 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’.

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. I would suggest that it is time for a revival, or at least a reappraisal, of his work and achievements.

EXAMPLE from score:

ENGLISH

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