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==Life and career==
==Life and career==
{{unreferenced section|date=November 2017}}
{{unreferenced section|date=November 2017}}
Goldmark came from a large [[Ashkenazi Jews|Jewish]] family. His father, Ruben Goldmark, was a [[chazan]] (cantor) to the Jewish congregation at [[Keszthely]], Hungary, where Karl was born. Karl Goldmark's older brother [[Joseph Goldmark|Joseph]] became a physician and was later involved in the [[Revolutions of 1848 in the Austrian Empire|Revolution of 1848]], and forced to emigrate to the United States. Karl Goldmark's early training as a violinist was at the musical academy of [[Sopron]] (1842–44).
Goldmark came from a large [[Ashkenazi Jews|Jewish]] family.<ref name=":0">{{Cite web |title=Karl Goldmark |url=https://open.spotify.com/artist/0Pz79wagKnssEZImEgGGFv |access-date=2025-07-13 |website=Spotify |language=en}}</ref> His father, Ruben Goldmark, was a [[chazan]] (cantor) to the Jewish congregation at [[Keszthely]], Hungary, where Karl was born. Karl Goldmark's older brother [[Joseph Goldmark|Joseph]] became a physician and was later involved in the [[Revolutions of 1848 in the Austrian Empire|Revolution of 1848]], and forced to emigrate to the United States. Karl Goldmark's early training as a violinist was at the Ödenburg music school in the city of [[Sopron]] (1842-3).<ref name=":0" />


He continued his music studies there and two years later was sent by his father to Vienna, where he was able to study for some eighteen months with [[Leopold Jansa]] before his money ran out. He prepared himself for entry first to the Vienna ''Technische Hochschule'' and then to the [[University of Music and Performing Arts, Vienna|Vienna Conservatory]] to study the violin with [[Joseph Böhm]] and [[harmony]] with [[Gottfried Preyer]].
In 1844, Goldmark was sent to Vienna, where he was able to study for some eighteen months with [[Leopold Jansa]] before his money ran out.<ref name=":0" /> He prepared himself for entry first to the Vienna ''Technische Hochschule'' and then to the [[University of Music and Performing Arts, Vienna|Vienna Conservatory]] to study the violin with [[Joseph Böhm]] and [[harmony]] with [[Gottfried Preyer]].<ref name=":0" /> Until he became a member of Vienna's Carl Theatre in 1850, Goldmark was impoverished, surviving on menial odd jobs and handouts.<ref>Douglas Townsend, liner notes to Columbia Records MS7261, Rustic Wedding (Leonard Berstein, NY Philharmonic)</ref> The [[Revolutions of 1848|Revolution of 1848]] forced the Conservatory to close down. Goldmark was largely self-taught as a composer.<ref>{{Cite web |title=Karl GOLDMARK (1830-1915) - Museum of Music History |url=https://momh.org.uk/exhibitions/karl-goldmark-1830-1915/ |access-date=2025-07-13 |website=momh.org.uk |language=en-GB}}</ref> After the Conservatory's closing, Goldmark played violin for theaters and taught music to make ends meet. During this time, he honed his compositional talents.<ref name=":0" /> Goldmark's first concert, a self-organized show in Vienna (1858) met with hostility, and he returned to Budapest, returning to Vienna in 1860.<ref name=":1">{{Cite web |date=2015-03-04 |title=Karl Goldmark Had Character Enough |url=https://www.wrti.org/music-features/2015-03-04/karl-goldmark-had-character-enough |access-date=2025-07-13 |website=WRTI |language=en}}</ref>
Until he became a member of Vienna's Carl Theatre in 1850, Goldmark was impoverished, surviving on menial odd jobs and handouts. [Douglas Townsend, liner notes to Columbia Records MS7261, Rustic Wedding (Leonard Berstein, NY Philharmonic)]
The [[Revolutions of 1848|Revolution of 1848]] forced the Conservatory to close down. Goldmark was largely self-taught as a composer, and he supported himself in Vienna playing the [[violin]] in theatre orchestras, at the Carlstheater and the privately supported Viennese institution, the [[Theater in der Josefstadt]]. This gave him practical experience with [[orchestration]], an art he more than mastered. He also gave lessons: [[Jean Sibelius]] studied with him briefly. Goldmark's first concert in Vienna (1858) met with hostility, and he returned to Budapest, returning to Vienna in 1860.


To make ends meet, Goldmark also pursued a side career as a music journalist. "His writing is distinctive for his even-handed promotion of both Brahms and Wagner, at a time when audiences (and most critics) were solidly in one composer's camp or the other and viewed those on the opposing side with undisguised hostility." (Liebermann 1997) [[Johannes Brahms]] and Goldmark developed a friendship as Goldmark's prominence in Vienna grew. Goldmark, however, ultimately distanced himself because of Brahms' prickly personality.
To make ends meet, Goldmark also pursued a side career as a music journalist. [[Johannes Brahms]] and Goldmark developed a friendship as Goldmark's prominence in Vienna grew.<ref name=":1" />


Among the musical influences Goldmark absorbed was the inescapable one, for a musical colorist, of [[Richard Wagner]], whose anti-semitism stood in the way of any genuine warmth between them; in 1872 Goldmark took a prominent role in the formation of the Vienna Wagner Society. He was made an honorary member of the [[Gesellschaft der Musikfreunde]], received an honorary doctorate from the [[Eötvös Loránd University|University of Budapest]] and shared with [[Richard Strauss]] an honorary membership in the [[Accademia Nazionale di Santa Cecilia|Accademia di Santa Cecilia]], Rome.
Among the musical influences Goldmark absorbed was that of [[Richard Wagner]],<ref name=":0" /> whose anti-semitism stood in the way of any genuine warmth between them. In 1872 Goldmark took a prominent role in the formation of the Vienna Wagner Society. He was made an honorary member of the [[Gesellschaft der Musikfreunde]], received an honorary doctorate from the [[Eötvös Loránd University|University of Budapest]] and shared with [[Richard Strauss]] an honorary membership in the [[Accademia Nazionale di Santa Cecilia|Accademia di Santa Cecilia]], Rome.


Goldmark's [[opera]] ''[[Die Königin von Saba]]'' ("The Queen of Sheba"), Op. 27 was celebrated during his lifetime and for some years thereafter. First performed in Vienna on 10 March 1875, the work proved so popular that it remained in the repertoire of the [[Vienna State Opera|Vienna Staatsoper]] continuously until 1938. He wrote six other operas as well (see list).
Goldmark's [[opera]] ''[[Die Königin von Saba]]'' ("The Queen of Sheba"), Op. 27 was celebrated during his lifetime and for some years thereafter. Though he had begun working on it after he first permanently settled in Vienna in 1860, it was first performed in Vienna on 10 March 1875. the work proved so popular that it remained in the repertoire of the [[Vienna State Opera|Vienna Staatsoper]] continuously until 1938.<ref name=":1" /> He wrote six other operas as well (see list).


The ''[[Rustic Wedding Symphony]]'' (''Ländliche Hochzeit''), Op. 26 (first performed in 1876), a work that was kept in the repertory by [[Thomas Beecham|Sir Thomas Beecham]], includes five movements, like a suite composed of coloristic tone poems: a wedding march with variations depicting the wedding guests, a nuptial song, a serenade, a dialogue between the bride and groom in a garden, and a dance movement.
The ''[[Rustic Wedding Symphony]]'' (''Ländliche Hochzeit''), Op. 26 (first performed in 1876), a work that was kept in the repertory by [[Thomas Beecham|Sir Thomas Beecham]], includes five movements, like a suite composed of coloristic tone poems: a wedding march with variations depicting the wedding guests, a nuptial song, a serenade, a dialogue between the bride and groom in a garden, and a dance movement. It was very well received, including by Brahms.<ref name=":1" />


His [[Violin Concerto No. 1 (Goldmark)|Violin Concerto No. 1]] in A minor, Op. 28, was once his most frequently played piece. The concerto had its première in [[Bremen (city)|Bremen]] in 1877, initially enjoyed great popularity and then slid into obscurity. A very romantic work, it has a [[Magyars|Magyar]] march in the first movement and passages reminiscent of [[Antonín Dvořák|Dvořák]] and [[Felix Mendelssohn|Mendelssohn]] in the second and third movements. The concerto has started to re-enter the repertoire with recordings by such prominent violin soloists as [[Itzhak Perlman]] and [[Joshua Bell]]. [[Nathan Milstein]] also championed the work. Milstein's recording of the Concerto (1957) is widely considered the definitive one.
His [[Violin Concerto No. 1 (Goldmark)|Violin Concerto No. 1]] in A minor, Op. 28, was the piece of his played most during his lifetime. The concerto had its première in [[Bremen (city)|Bremen]] in 1877, initially enjoyed great popularity and then slid into obscurity.<ref name=":1" /> The concerto has started to re-enter the repertoire with recordings by such prominent violin soloists as [[Itzhak Perlman]] and [[Joshua Bell]]. [[Nathan Milstein]] also championed the work.


He wrote a second violin concerto, but it was never published. A second symphony in E-flat, Op. 35, is much less well known. Goldmark also wrote an early symphony in C major, between roughly 1858 and 1860. That work was never given an opus number and only the scherzo seems to have ever been published.
He wrote a second violin concerto, but it was never published. A second symphony in E-flat, Op. 35, is much less well known. Goldmark also wrote an early symphony in C major, between roughly 1858 and 1860. That work was never given an opus number and only the scherzo seems to have ever been published.
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Goldmark's chamber music, in which the influences of [[Robert Schumann|Schumann]] and [[Felix Mendelssohn|Mendelssohn]] are paramount, although critically well received in his lifetime, is now rarely heard. It includes the [[String Quintet]] in A minor Op. 9 that made his first reputation in Vienna, the [[Violin Sonata]] in D major Op. 25, two [[Piano Quintet]]s in B-flat major, Op. 30 and C-sharp minor, Op. 54, the [[Cello Sonata]] Op. 39, and the work that first brought Goldmark's name into prominence in the Viennese musical world, the [[String Quartet]] in B-flat Op. 8 (his only work in that genre). He also composed choral music, two Suites for Violin and Piano (in D major, Op. 11, and in E-flat major, Op. 43), and numerous [[concert overture]]s, such as the ''Sakuntala'' Overture Op. 13 (a work which cemented his fame after his String Quartet), the ''Penthesilea'' Overture Op. 31, the ''In the Spring'' Overture Op. 36, the ''Prometheus Bound'' Overture Op. 38, the ''Sappho'' Overture Op. 44, the ''In Italy'' Overture Op. 49, and the ''Aus Jugendtagen'' Overture, Op. 53. Other orchestral works include the [[symphonic poem]] ''Zrínyi'', Op. 47, and two orchestral scherzos, in E minor, Op. 19, and in A major, Op. 45.
Goldmark's chamber music, in which the influences of [[Robert Schumann|Schumann]] and [[Felix Mendelssohn|Mendelssohn]] are paramount, although critically well received in his lifetime, is now rarely heard. It includes the [[String Quintet]] in A minor Op. 9 that made his first reputation in Vienna, the [[Violin Sonata]] in D major Op. 25, two [[Piano Quintet]]s in B-flat major, Op. 30 and C-sharp minor, Op. 54, the [[Cello Sonata]] Op. 39, and the work that first brought Goldmark's name into prominence in the Viennese musical world, the [[String Quartet]] in B-flat Op. 8 (his only work in that genre). He also composed choral music, two Suites for Violin and Piano (in D major, Op. 11, and in E-flat major, Op. 43), and numerous [[concert overture]]s, such as the ''Sakuntala'' Overture Op. 13 (a work which cemented his fame after his String Quartet), the ''Penthesilea'' Overture Op. 31, the ''In the Spring'' Overture Op. 36, the ''Prometheus Bound'' Overture Op. 38, the ''Sappho'' Overture Op. 44, the ''In Italy'' Overture Op. 49, and the ''Aus Jugendtagen'' Overture, Op. 53. Other orchestral works include the [[symphonic poem]] ''Zrínyi'', Op. 47, and two orchestral scherzos, in E minor, Op. 19, and in A major, Op. 45.


Goldmark's nephew [[Rubin Goldmark]] (1872–1936), a pupil of [[Antonín Dvořák|Dvořák]], was also a composer, who spent his career in New York.
Goldmark's nephew [[Rubin Goldmark]] (1872–1936), a pupil of [[Antonín Dvořák|Dvořák]], was also a composer, who spent his career in New York.<ref>{{Cite web |title=Rubin Goldmark |url=https://kids.britannica.com/students/article/Rubin-Goldmark/324808 |access-date=2025-07-13 |website=Britannica Kids |language=en-US}}</ref>


==Death==
==Death==

Latest revision as of 19:04, 24 September 2025

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Karl Goldmark
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Karl Goldmark (born Károly Goldmark, Keszthely, 18 May 1830 – Vienna, 2 January 1915) was a Hungarian-born Viennese composer.[1]

Life and career

Script error: No such module "Unsubst". Goldmark came from a large Jewish family.[2] His father, Ruben Goldmark, was a chazan (cantor) to the Jewish congregation at Keszthely, Hungary, where Karl was born. Karl Goldmark's older brother Joseph became a physician and was later involved in the Revolution of 1848, and forced to emigrate to the United States. Karl Goldmark's early training as a violinist was at the Ödenburg music school in the city of Sopron (1842-3).[2]

In 1844, Goldmark was sent to Vienna, where he was able to study for some eighteen months with Leopold Jansa before his money ran out.[2] He prepared himself for entry first to the Vienna Technische Hochschule and then to the Vienna Conservatory to study the violin with Joseph Böhm and harmony with Gottfried Preyer.[2] Until he became a member of Vienna's Carl Theatre in 1850, Goldmark was impoverished, surviving on menial odd jobs and handouts.[3] The Revolution of 1848 forced the Conservatory to close down. Goldmark was largely self-taught as a composer.[4] After the Conservatory's closing, Goldmark played violin for theaters and taught music to make ends meet. During this time, he honed his compositional talents.[2] Goldmark's first concert, a self-organized show in Vienna (1858) met with hostility, and he returned to Budapest, returning to Vienna in 1860.[5]

To make ends meet, Goldmark also pursued a side career as a music journalist. Johannes Brahms and Goldmark developed a friendship as Goldmark's prominence in Vienna grew.[5]

Among the musical influences Goldmark absorbed was that of Richard Wagner,[2] whose anti-semitism stood in the way of any genuine warmth between them. In 1872 Goldmark took a prominent role in the formation of the Vienna Wagner Society. He was made an honorary member of the Gesellschaft der Musikfreunde, received an honorary doctorate from the University of Budapest and shared with Richard Strauss an honorary membership in the Accademia di Santa Cecilia, Rome.

Goldmark's opera Die Königin von Saba ("The Queen of Sheba"), Op. 27 was celebrated during his lifetime and for some years thereafter. Though he had begun working on it after he first permanently settled in Vienna in 1860, it was first performed in Vienna on 10 March 1875. the work proved so popular that it remained in the repertoire of the Vienna Staatsoper continuously until 1938.[5] He wrote six other operas as well (see list).

The Rustic Wedding Symphony (Ländliche Hochzeit), Op. 26 (first performed in 1876), a work that was kept in the repertory by Sir Thomas Beecham, includes five movements, like a suite composed of coloristic tone poems: a wedding march with variations depicting the wedding guests, a nuptial song, a serenade, a dialogue between the bride and groom in a garden, and a dance movement. It was very well received, including by Brahms.[5]

His Violin Concerto No. 1 in A minor, Op. 28, was the piece of his played most during his lifetime. The concerto had its première in Bremen in 1877, initially enjoyed great popularity and then slid into obscurity.[5] The concerto has started to re-enter the repertoire with recordings by such prominent violin soloists as Itzhak Perlman and Joshua Bell. Nathan Milstein also championed the work.

He wrote a second violin concerto, but it was never published. A second symphony in E-flat, Op. 35, is much less well known. Goldmark also wrote an early symphony in C major, between roughly 1858 and 1860. That work was never given an opus number and only the scherzo seems to have ever been published.

File:GuentherZ 2015-02-28 (5) Wien02 Josef-Gall-Gasse005 Boecklinstrasse Gedenktafel Carl Goldmark.JPG
Memorial for Goldmark in Vienna

Goldmark's chamber music, in which the influences of Schumann and Mendelssohn are paramount, although critically well received in his lifetime, is now rarely heard. It includes the String Quintet in A minor Op. 9 that made his first reputation in Vienna, the Violin Sonata in D major Op. 25, two Piano Quintets in B-flat major, Op. 30 and C-sharp minor, Op. 54, the Cello Sonata Op. 39, and the work that first brought Goldmark's name into prominence in the Viennese musical world, the String Quartet in B-flat Op. 8 (his only work in that genre). He also composed choral music, two Suites for Violin and Piano (in D major, Op. 11, and in E-flat major, Op. 43), and numerous concert overtures, such as the Sakuntala Overture Op. 13 (a work which cemented his fame after his String Quartet), the Penthesilea Overture Op. 31, the In the Spring Overture Op. 36, the Prometheus Bound Overture Op. 38, the Sappho Overture Op. 44, the In Italy Overture Op. 49, and the Aus Jugendtagen Overture, Op. 53. Other orchestral works include the symphonic poem Zrínyi, Op. 47, and two orchestral scherzos, in E minor, Op. 19, and in A major, Op. 45.

Goldmark's nephew Rubin Goldmark (1872–1936), a pupil of Dvořák, was also a composer, who spent his career in New York.[6]

Death

Script error: No such module "Unsubst". Goldmark died in Vienna and is buried in the Zentralfriedhof (Central Cemetery), along with many other notable composers. Many of his autograph manuscripts are in the collection of the National Széchényi Library, with "G" catalogue numbers attached to various works (including those without opus number.)

List of works

Operas

Symphonies

Works for Orchestra

  • Sakuntala, Op. 13 (concert overture)
  • Scherzo in E Minor, Op. 19
  • Penthesilea, Op. 31 (concert overture)
  • Im Frühling (In Springtime), Op. 36 (concert overture)
  • Sappho, Op. 44 (concert overture)
  • Scherzo in A Major, Op. 45
  • Zrínyi, Op. 47 (symphonic poem)
  • In Italien (In Italy), Op. 49 (concert overture)
  • Aus Jugendtagen (From Youthful Days), Op. 53

(Note: All above works have been recorded by the Bamberg Symphony Orchestra under Fabrice Bollon for cpo label: Vol. 1 555 160-2 and Vol. 2 555 251–2.)

Concerti

Chamber music

  • Ballad for Violin and Piano, Op. 54
  • Piano Quintet in B-flat major, Op. 30
  • Piano Quintet in C-sharp minor, Op. 54
  • Romanze for Violin and Piano
  • Sonata for Violin and Piano, Op. 25
  • Sonata for Cello and Piano, Op. 39
  • Piano Trio, Op. 33, No.2
  • Piano Trio, Op. 4
  • String Quartet in B-flat major, Op. 8
  • Suite for Violin and Piano in D major, Op. 11
  • Suite in A Major for Violin and Piano
  • String Quintet in A minor, Op. 9

Piano works (solo unless indicated)

  • Sturm und Drang, nine characteristic pieces, Op. 5
  • Three Pieces for Piano Duet, Op. 12
  • Hungarian Dances for Piano Duet, Op. 22 (later orchestrated by the composer)
  • Zwei Novelletten, Op. 29
  • Georginen, six pieces, Op. 52

Choral works

  • Regenlied for unaccompanied chorus, Op. 10
  • Two Pieces for unaccompanied men's chorus, Op. 14
  • Frühlingsnetz for men's chorus, 4 horns, and piano, Op. 15
  • Meeresstille und glückliche Fahrt for men's chorus and horns, Op. 16
  • Two Pieces for unaccompanied men's chorus, Op. 17
  • Frühlingshymne for contralto, chorus, and orchestra, Op. 23
  • Im Fuschertal, a set of six choral songs, Op. 24
  • Psalm CXIII for solo voices, chorus, and orchestra, Op. 40
  • Two Pieces for unaccompanied men's chorus, Op. 41
  • Two Four-Part Songs with piano accompaniment, Op. 42

Lieder

  • 12 Gesänge, Op. 18
  • Beschwörung, Op. 20
  • 4 Lieder, Op. 21
  • 7 Lieder aus dem 'Wilden Jäger', Op. 32
  • 4 Lieder, Op. 34
  • 8 Lieder, Op. 37 (Leipzig, 1888 or 1889);
  • Wer sich die Musik erkiest (for piano and four solo voices), Op. 42
  • 6 Lieder, Op. 46

References

<templatestyles src="Reflist/styles.css" />

  1. ↑ Peter Revers, Michael Cherlin, Halina Filipowicz, Richard L. Rudolph The Great Tradition and Its Legacy 2004; Template:ISBN, p. 227; "During the late nineteenth century, Karl Goldmark was among the most internationally celebrated of Viennese composers."
  2. ↑ a b c d e f Script error: No such module "citation/CS1".
  3. ↑ Douglas Townsend, liner notes to Columbia Records MS7261, Rustic Wedding (Leonard Berstein, NY Philharmonic)
  4. ↑ Script error: No such module "citation/CS1".
  5. ↑ a b c d e Script error: No such module "citation/CS1".
  6. ↑ Script error: No such module "citation/CS1".

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Further reading

External links

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Template:Karl Goldmark Template:Expand Hungarian Template:Portal bar Template:Authority control

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