Katherine Decker & Eun-Hee Park - Georg Goltermann: Nocturnes and Romances - Morceaux de Salon for Cello and Piano (2022)
BAND/ARTIST: Katherine Decker, Eun-Hee Park
- Title: Georg Goltermann: Nocturnes and Romances - Morceaux de Salon for Cello and Piano
- Year Of Release: 2022
- Label: MSR Classics
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:18:15
- Total Size: 356 mb
- WebSite: Album Preview
Tracklist
03. Trois morceaux de salon, Op. 92: No. 3: Romance in F Major
04. Trois romances symboliques, Op. 95: Romance No. 1 in C Major, La Foi (Faith)
05. Trois romances symboliques, Op.: Romance No. 2 in A Major, La Charité (Charity)
06. Trois romances symboliques, Op. 95: Romance No. 3 in F Major, L’Espérance (Hope)
07. Quatre morceaux de salon, Op. 102: Nocturne No. 1 in C Major
08. Trois romances sans paroles, Op. 90: Romance No. 1 in G Major
09. Trois romances sans paroles, Op. 90: Romance No. 2 in C Major
01. 0Trois romances sans paroles, Op. 90: Romance No. 3 in D Minor
01. 1Quatre morceaux caractéristiques, Op. 43: Nocturne No. 3 in D Minor
12. Quatre Morceaux Caractéristiques, Op. 54: Nocturne No. 1 in G Major
13. Modern Suite, Op. 122R: Romance No. 2 in D Major
14. Suite of Four Solos, Op. 49: Nocturne No. 1 in G Major
15. Trois morceaux faciles, Op. 115: Nocturne No. 3 in A Minor
16. Quatre morceaux de salon, Op. 35: Romance No. 1 in D Major
17. Romance et tarantelle, Op. 60: Romance No. 1 in A Minor
18. Romance in E Minor, Op. 17
19. Trois nocturnes, Op. 125: Nocturne No. 1 in G Major
20. Trois nocturnes, Op. 125: Nocturne No. 2 in E-Flat Major
21. Trois nocturnes, Op. 125: Nocturne No. 3 in F Major
22. Four Salon Pieces, Op. 96: Romance No. 1 in A Major
Georg Goltermann was born on 19 August, 1824, in Hanover, Germany. His father was the town organist, but little else is known about his family. He began his cello studies under the tutelage of August Prell, a former student of Bernhard Romberg. In 1847, Goltermann moved to Munich to continue his studies with Joseph Menter. While in Munich, he studied composition with Ignaz Lachner and established a career as a solo cellist through performances of his own concertos and also of works by better-known composers. He spent several years touring as a soloist while continuing to write music for the cello as well as for orchestras, organ and other instrumental ensembles. By 1851, Goltermann’s first symphony was premiered in Leipzig to a highly enthusiastic crowd. Soon after, he left behind his touring career and settled in Würzburg, where he was made the town’s Music Director while continuing his work as a composer. In 1852, he moved to Frankfurt to work at the Stadttheater, where he eventually gained the rank of Primary Conductor. He remained at the Stadttheater for more than 40 years until just before his death in 1898.
My favorite performance pieces come from Goltermann’s many Nocturnes and Romances, as they flow easily from the instrument, evoke an intimate and calming mood, and audiences enjoy them immensely. Goltermann wrote dozens of these types of works for cello and piano as solo pieces and as movements within sonatas and concertos. With the exception of the concerto movements written in this form, these Nocturnes and Romances were meant for amateur players who performed at home rather than in concert. Eventually, however, these single performance pieces evolved in two ways. First, Goltermann himself chose to group them together to form sets of nocturnes or romances that were tied together through harmonic language, or melodic style. Second, publishers chose to combine the works into albums of either works by Goltermann alone, or in combination with other composers of the time. These sets and albums helped to build his popularity, but as musical styles changed and audiences looked toward new musical trends, publishers did not keep editions of his works current or pursue additional publications with him.
There are many composers of the nineteenth century that faded into obscurity as their careers ended, their compositional style falling out of favor or performances of their works no longer being deemed virtuosic enough to engage audiences. Goltermann, after his death, fell into this void and is, to date, only remembered for a few of his compositions such as his fourth concerto, which is studied by almost all young, aspiring cellists. But, like many other cellist composers, his works deserve to be revived. As a cellist, Goltermann understood the voice of the instrument and was able to convey this voice in the pieces he wrote for cello and piano such as his Nocturnes and Romances. Within these works, we hear the cello sing in a way that connects to the listener and brings a sense of story, calm and intimacy. Goltermann captured so many different emotions and characters in his music that almost every piece he wrote could serve as a significant teaching piece for students while also serving to delight audiences and bring them calm in tumultuous times.
03. Trois morceaux de salon, Op. 92: No. 3: Romance in F Major
04. Trois romances symboliques, Op. 95: Romance No. 1 in C Major, La Foi (Faith)
05. Trois romances symboliques, Op.: Romance No. 2 in A Major, La Charité (Charity)
06. Trois romances symboliques, Op. 95: Romance No. 3 in F Major, L’Espérance (Hope)
07. Quatre morceaux de salon, Op. 102: Nocturne No. 1 in C Major
08. Trois romances sans paroles, Op. 90: Romance No. 1 in G Major
09. Trois romances sans paroles, Op. 90: Romance No. 2 in C Major
01. 0Trois romances sans paroles, Op. 90: Romance No. 3 in D Minor
01. 1Quatre morceaux caractéristiques, Op. 43: Nocturne No. 3 in D Minor
12. Quatre Morceaux Caractéristiques, Op. 54: Nocturne No. 1 in G Major
13. Modern Suite, Op. 122R: Romance No. 2 in D Major
14. Suite of Four Solos, Op. 49: Nocturne No. 1 in G Major
15. Trois morceaux faciles, Op. 115: Nocturne No. 3 in A Minor
16. Quatre morceaux de salon, Op. 35: Romance No. 1 in D Major
17. Romance et tarantelle, Op. 60: Romance No. 1 in A Minor
18. Romance in E Minor, Op. 17
19. Trois nocturnes, Op. 125: Nocturne No. 1 in G Major
20. Trois nocturnes, Op. 125: Nocturne No. 2 in E-Flat Major
21. Trois nocturnes, Op. 125: Nocturne No. 3 in F Major
22. Four Salon Pieces, Op. 96: Romance No. 1 in A Major
Georg Goltermann was born on 19 August, 1824, in Hanover, Germany. His father was the town organist, but little else is known about his family. He began his cello studies under the tutelage of August Prell, a former student of Bernhard Romberg. In 1847, Goltermann moved to Munich to continue his studies with Joseph Menter. While in Munich, he studied composition with Ignaz Lachner and established a career as a solo cellist through performances of his own concertos and also of works by better-known composers. He spent several years touring as a soloist while continuing to write music for the cello as well as for orchestras, organ and other instrumental ensembles. By 1851, Goltermann’s first symphony was premiered in Leipzig to a highly enthusiastic crowd. Soon after, he left behind his touring career and settled in Würzburg, where he was made the town’s Music Director while continuing his work as a composer. In 1852, he moved to Frankfurt to work at the Stadttheater, where he eventually gained the rank of Primary Conductor. He remained at the Stadttheater for more than 40 years until just before his death in 1898.
My favorite performance pieces come from Goltermann’s many Nocturnes and Romances, as they flow easily from the instrument, evoke an intimate and calming mood, and audiences enjoy them immensely. Goltermann wrote dozens of these types of works for cello and piano as solo pieces and as movements within sonatas and concertos. With the exception of the concerto movements written in this form, these Nocturnes and Romances were meant for amateur players who performed at home rather than in concert. Eventually, however, these single performance pieces evolved in two ways. First, Goltermann himself chose to group them together to form sets of nocturnes or romances that were tied together through harmonic language, or melodic style. Second, publishers chose to combine the works into albums of either works by Goltermann alone, or in combination with other composers of the time. These sets and albums helped to build his popularity, but as musical styles changed and audiences looked toward new musical trends, publishers did not keep editions of his works current or pursue additional publications with him.
There are many composers of the nineteenth century that faded into obscurity as their careers ended, their compositional style falling out of favor or performances of their works no longer being deemed virtuosic enough to engage audiences. Goltermann, after his death, fell into this void and is, to date, only remembered for a few of his compositions such as his fourth concerto, which is studied by almost all young, aspiring cellists. But, like many other cellist composers, his works deserve to be revived. As a cellist, Goltermann understood the voice of the instrument and was able to convey this voice in the pieces he wrote for cello and piano such as his Nocturnes and Romances. Within these works, we hear the cello sing in a way that connects to the listener and brings a sense of story, calm and intimacy. Goltermann captured so many different emotions and characters in his music that almost every piece he wrote could serve as a significant teaching piece for students while also serving to delight audiences and bring them calm in tumultuous times.
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