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Friedrich Goldmann (27 April 1941 – 24 July 2009) was a German composer and conductor.
Life
Born on 27 April 1941 in Siegmar-Schönau (since July 1951 incorporated into
Chemnitz), Goldmann's music education began in 1951 when he joined the
Dresdner Kreuzchor. At age 18, he received a scholarship by the city of
Darmstadt to study composition with
Karlheinz Stockhausen at the
Internationale Ferienkurse für Neue Musik in 1959, who further encouraged him over the following years.[1] He moved on to study composition at the Dresden Conservatory from 1959, taking his exam two years early in 1962. From 1962 until 1964 he attended a master class at the
Academy of Arts, Berlin with Rudolph Wagner-Régeny. Around this time, he worked as a freelance music assistant at the
Berliner Ensemble where he befriended other composers and writers, including
Heiner Müller,
Luigi Nono and
Luca Lombardi. He also met
Paul Dessau, who became a close friend and mentor. From 1964 until 1968 he studied musicology at
Humboldt University of Berlin, after which he worked as a freelance composer and conductor.[2]
As a conductor, he worked with several orchestras and ensembles, including the
Berliner Philharmoniker (with which he recorded Stockhausen's Gruppen),[4] the
Gewandhausorchester Leipzig, the
Staatskapelle Berlin (including a production of
Schönberg's Moses und Aron, directed by
Ruth Berghaus, in 1987), the
Gruppe Neue Musik Hanns Eisler, and the
Scharoun Ensemble. He also performed all over Europe, Russia, the United States, Japan, and South Korea. He had a close working relationship with Ensemble Modern from the first days of the ensemble's formation. Their collaborations included a tour of Russia, the French and West German premieres of Luigi Nono's Prometeo, as well as performances and recordings of Goldmann's own works.[5]
He was a member of the Academies of Fine Arts of East Berlin (from 1978) and of West Berlin (from 1990, before the unification of both academies), and Dresden (from 1995). He was also a member of the German-French Cultural Council, and
Deutscher Musikrat (German Music Council, a member of the
International Music Council). From 1990 until 1997 he was president of the German section of the International Society of Contemporary Music (
ISCM) (;[12][13]) Awards include the Hanns-Eisler-Preis, Kulturpreis and Nationalpreis of the GDR.[14]
Friedrich Goldmann died in Berlin on 24 July 2009.[15][16] He was 68 years old. His grave is located at Berlin's
Dorotheenstädtischer Friedhof cemetery .[17] Currently the majority of his autograph scores are located at the archive of Berlin's Akademie der Künste.[18]
Works
Goldmann wrote more than 200 compositions. They include
chamber music, solo concertos, orchestral works including four
symphonies, stage and film music scores as well as one opera, R.Hot oder Die Hitze.[19] A comprehensive list of works can be found on the composer's website.[20]
His output can be divided roughly into three creative periods. His early works from 1963 up to the beginning of the 1970s include several works for the stage as well as chamber music and three "Essays" for orchestra. In these he initially employed
serial and
cluster techniques, claiming later that he considered most of them "to be thrown away." Around 1969 Goldmann developed a technique of appropriating established musical forms (such as
sonata,
symphony,
string quartet, etc.) and "breaking them open from within", thereby changing their impact and meaning.[21] Important examples of this phase are Bläsersonate (1969) and Symphony No.1 (1971), both of which are major early examples of the deconstruction of the idea of linear progress in new music since the 1970s.[22]
From the end of the 1970s a new tendency evolved that would dominate his third creative period, especially from the late 1990s: autonomous, "
absolute" composition.[23] Instead of working with discrepancies, as in "
polystylism" or in his previous works, for instance, Goldmann sought interactions and integrations of techniques and material. This approach aims at overcoming assumed antagonisms between different "layers of material." Within the resulting consistent shapes formed from transitions between tones, microtones, and noise, assumed parameter boundaries are meant to dissolve perceptually—thus challenging the concept of musical material as a set of stable entities. Important examples are the String Quartet 2 (1997), the Quartet for Oboe, Violin, Viola and Violoncello (2000), and Quasi una sinfonia (2008).[24]
References
^Müller, Gerhard "Goldmann, Friedrich". The New Grove Dictionary of Music and Musicians, second edition, edited by
Stanley Sadie and
John Tyrrell. London: Macmillan Publishers 2001
^Stöck, Katrin: "Goldmann, Friedrich". "
Musik in Geschichte und Gegenwart", second edition, edited by
Ludwig Finscher – "Personenteil", Volume 7: Fra-Gre. Kassel: Bärenreiter / Stuttgart: Metzler 2002
^CD: Deutsche Grammophon DG 447 761-2 / 940 462-2; reissued as 001708102
^Nachtmann, Clemens: "Friedrich Goldmann", in Komponisten der Gegenwart encyclopedia), revision 50, edited by
Hanns-Werner Heister and Walter-Wolfgang Sparrer. Munich: Edition Text & Kritik 2013
^Nachtmann, Clemens: "Friedrich Goldmann", in Komponisten der Gegenwart encyclopedia), revision 50, edited by
Hanns-Werner Heister and Walter-Wolfgang Sparrer. Munich: Edition Text & Kritik 2013
^Nachtmann, Clemens: "Friedrich Goldmann", in Komponisten der Gegenwart encyclopedia), revision 50, edited by
Hanns-Werner Heister and Walter-Wolfgang Sparrer. Munich: Edition Text & Kritik 2013
^Müller, Gerhard "Goldmann, Friedrich". The New Grove Dictionary of Music and Musicians, second edition, edited by
Stanley Sadie and
John Tyrrell. London: Macmillan Publishers 2001
^Nachtmann, Clemens: "Friedrich Goldmann", in Komponisten der Gegenwart encyclopedia), revision 50, edited by
Hanns-Werner Heister and Walter-Wolfgang Sparrer. Munich: Edition Text & Kritik 2013
^Müller, Gerhard "Goldmann, Friedrich". The New Grove Dictionary of Music and Musicians, second edition, edited by
Stanley Sadie and
John Tyrrell. London: Macmillan Publishers 2001
^Nachtmann, Clemens: "Friedrich Goldmann", in Komponisten der Gegenwart encyclopedia), revision 50, edited by
Hanns-Werner Heister and Walter-Wolfgang Sparrer. Munich: Edition Text & Kritik 2013
^Niklew, Christiane: "Goldmann, Friedrich". In Wer war wer in der DDR?, edited by Jochen Černý. Berlin: Links Verlag 1992
^Kühn, Georg-Friedrich: "Luzide Strenge: Zum Tod des Komponisten und Dirigenten Friedrich Goldmann". Neue Zürcher Zeitung (27 July 2009)
^Nachtmann, Clemens: "Friedrich Goldmann", in Komponisten der Gegenwart encyclopedia), revision 50, edited by
Hanns-Werner Heister and Walter-Wolfgang Sparrer. Munich: Edition Text & Kritik 2013
^Schneider, Frank: "Goldmann, Friedrich". "Komponistenlexikon", second edition, edited by Horst Weber. Kassel: Bärenreiter; Stuttgart: Metzler 2003, p.223
^"Composer's website". friedrichgoldmann.com. 19 February 2011. Retrieved 12 September 2023.
^Stürzbecher, Ursula. 1979 "Interview mit Friedrich Goldmann". Komponisten in der DDR. 17 Gespräche, 58. Hildesheim: Gerstenberg 1979, p.58
^Nachtmann, Clemens: "Friedrich Goldmann", in Komponisten der Gegenwart encyclopedia), revision 50, edited by
Hanns-Werner Heister and Walter-Wolfgang Sparrer. Munich: Edition Text & Kritik 2013
^Dibelius, Ulrich: Moderne Musik II 1965–1985. Munich: Serie Piper 1988, pp.286-288
^Nachtmann, Clemens: "Friedrich Goldmann", in Komponisten der Gegenwart encyclopedia), revision 50, edited by
Hanns-Werner Heister and Walter-Wolfgang Sparrer. Munich: Edition Text & Kritik 2013
Further reading
Bimberg, Siegfried. 1987. "Investigations on the Change of Attitudes Towards Contemporary Music". Bulletin of the Council for Research in Music Education, no. 91 (Eleventh International Seminar on Research in Music Education, Spring): 6–9.
Hennenberg, Fritz. 1980. "Die Mittlere Generation: Versuch über sechs Komponisten der DDR". German Studies Review 3, no. 2 (May): 289-321.
Reiner Kontressowitz: Fünf Annäherungen – zu den Solokonzerten von Friedrich Goldmann, Altenburg: Kamprad 2014
Reiner Kontressowitz: Annäherungen II – Zur Biographie und zu den Sinfonien von Friedrich Goldmann, Altenburg: Kamprad 2020
Reiner Kontressowitz: Der Weg zur "5. Sinfonie", Neumünster: Von Bockel 2021
Motte-Haber, Helga de la. 1992. "...fast erstarrte Unruhe—im Gespräch mit Friedrich Goldmann". Positionen 11:27–29.
Noeske, Nina. 2007. Musikalische Dekonstruktion: neue Instrumentalmusik in der DDR. KlangZeiten—Musik, Politik und Gesellschaft 3. Cologne, Weimar: Böhlau Verlag.
ISBN9783412200459.
Schneider, Frank. 1989b. "Dialog ohne Kompromiss: Das Klavierkonzert von Friedrich Goldmann". Beiträge zur Musikwissenschaft 31, no. 4:244–53.
Schneider, Frank. 1989c. "Postmoderne als Programm und Praxis des Komponierens: Problemfeld Neue DDR-Musik". In Das Projekt Moderne und die Postmoderne, edited by
Wilfried Gruhn, 153–80. Hochschuldokumentationen zu Musikwissenschaft und Musikpädagogik Musikhochschule Freiburg 2. Regensburg: Gustav Bosse Verlag
Schneider, Frank. 2009. "Friedrich Goldmann in memoriam". Positionen: Texte zur aktuellen Musik, no. 81 (November): 19–20.
Schneider, Frank, and Friedrich Goldmann. 1999. "Einfach bleiben wird nichts: Frank Schneider im Gespräch mit Friedrich Goldmann". In Bach: Thema und Variationen—Ein Lese-Buch zum Konzertprojekt—Konzerthaus Berlin, Saison 1999–2000, edited by Habakuk Traber, 27–36. Göttingen: Wallstein Verlag.
ISBN3-89244-393-9.
Schneider, Frank. 2021. "Form und Klang. Essays und Analysen zur Musik von Friedrich Goldmann", Neumünster: von Bockel
Thiele, Ulrike. 2008. "Leipzig, 6. und 7. Juli 2007: 'Die Rezeption der Wiener Schule in Nordosteuropa'". Die Musikforschung 61, no. 1 (January–March): 51–52.
Williams, Alastair. 2013. Music in Germany since 1968. Music since 1900. Cambridge and New York: Cambridge University Press.
ISBN978-0-521-87759-6.