Cheap Goetz: The Complete Orchestral Works (Music) (Hermann Goetz, Edouard van Remoortel) Price

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Customer Reviews of Goetz: The Complete Orchestral Works

A LOVELY, LITTLE SYMPHONY
Hermann Goetz (1840-1876), whose brief life ended shortly before his thirty-sixth birthday, left in his humble wake compositions of long-lasting beauty and enduring charm. Goetz, despite the preponderance of composers whose names form the very foundation of the Romantic era, was not neglected or unknown during his lifetime; on the contrary, his music moved actively throughout Germany and all the way to the shores of England. Unfortunately, as with most "minor" composers, his music all but disappeared after his death--- and had to wait nearly one hundred years to be brought before a public hungry for "lost" 19th century masters.

This was, of course, the 70s, a period of musical revival and renewal, and in the forefront, Genesis Records, a small company who had the pluck to resurrect Goetz to LP single-handedly. And, since the digital era, has continued the enterprise by transferring its incredibly valuable holdings to CD, including Goetz.

I first came to know this composer through his charismatic and touching piano music [see my Amazon review of 11/21/00], released on LP by Genesis in 1972--- and, to my knowledge, the only recorded version extant. The music captured me at once, and still does. Released that same year, same company, were his complete orchestral works, transferred in 1991 to the CD at hand.

The gem of this collection is, naturally, the Symphony in F, Op. 9, written in 1873, an amalgam of originality, symbiosis and a kind of musical anticipatory foresight. Yet, throughout, despite the fervor of the highest compositional efforts that surrounded him, Goetz always retains his own "voice."

The opening Allegro moderato (9:05) is a perfect example. After a rousing orchestral entry, not unlike Schumann in its exhuberance, there is more than just a hint of Wagner (cf. Siegfried Idyll) and of Richard Strauss (cf. Ein Heldenleben) trotting about before Goetz grabs the reins and counterbalances his stride with some strikingly original thematic and lyrical material. More than likely, Goetz knew Wagner's "Idyll," easily; however, the Straussian motifs predate Strauss by over twenty years. It makes for fascinating listening and comparison.

Similarly, the delightful Intermezzo (6:10), like "landler" fresh from the Alps--- horn calls and all!--- brings to mind more than bits and pieces of Mahler's First and Fourth Symphonies... both written 1888 and 1900, respectively... and years after the Goetz Op. 9 in F Major. The influence on Mahler is more than obvious and, again, fascinating. The movement, itself, is lovely, sun-filled, joyful.

The Adagio (10:56), for me, is pure, unadulerated, lyrical Goetz. It is a deeply-felt rapture, a nourishment for the soul. Following, in a burst of jubilance, the Allegro con fuoco finale (6:31) revives us--- and sails us away on waves of the most cheerful melodies.

What a charming, innocent, lovely little symphony!

The three overtures included round out the totality of Goetz, the orchestrator. "Shrew" (6:01) and "Francesca" (9:45) are actually opera overtures; "Spring" (11:39), however, composed in 1864, is a bonafide concert work in and of itself and, as such, is the most substantial of the lot, generous in its flowing invention, gracefulness and subdued melancholy.

The Monte Carlo National Orchestra, under the seasoned Van Remoortel, plays splendidly throughout and with complete empathy. The sound has transferred to CD exceedingly well and, in the process, has gained an improved warmth, openness and glow.

[Running time: 60:43]