|ORCHESTRA: Kaleidoscope; Tam O'Shanter; The Eternal Rhythm; Rhythmic Dance; Sinfonietta; Fantasy for Nine Wind Instruments; Three Greek Dances; Concertino for Double String Orchestra; Poem (for viola and orchestra); Rhapsody (for 'cello and orchestra).|
|OPERAS: Judith; Don Juan.|
|CHAMBER MUSIC: Spanish Serenade; Fantasy String Quartet; String Quartet in C; First Violin and Piano Sonata; Quintet (one movement) ; Sextet; Sonata No. 2 for Piano, etc.|
|Songs, pieces for piano, etc.|
About Eugene Goossens:
Holbrooke Josef. Contemporary British Composers.
Chesterian n.s. 1:13September 1919; Music and Letters 12:345October 1931.
Important recordings of music by Eugene Goossens:
VICTOR: From Judith: "Ballet Music" ( Goossens).
PAUL GRAENER, one of the more interesting of modern German composers, was born in Berlin on January 11, 1872. Altho, at the age of nine he was admitted to the celebrated Domchor in Berlin because of his delicate and refined voice, it was not until many years later that a musical career interested him seriously. At first, his education was pursued at the Askanisches Gymnasium, but at the age of sixteen a scholarship for Veit's Conservatorium turned him towards music; his rapid growth under Albert Becker and Benno Horwitz convinced him that music would become his profession.
Altho Graener was one of the aptest pupils at the Conservatorium, he did not remain there very long to take advantage of the scholarship. A restless and roving temperament, which manifested itself in him from boyhood days, soon drew him ineluctably from schoolrooms and academic studies. He decided he could accomplish much more by studying privately from books. And so, except for the elementary musical studies, Graener has been entirely self-taught.
His early musical life was a nomadic one. He travelled for some years over the face of Germany, earning his livelihood by spasmodically accepting irregular positions as conductor in the smaller theatres of Königsberg and Bremerhaven. While wandering, thus, he stumbled across the first powerful influence in his artistic life. In his twenty-third year, he came face to face with a composer whom he worshipped, Johannes Brahms. Brahms welcomed the young composer with cold aloofness but consented to look over his early scores and to give an honest criticism. His criticism was that, altho Graener required much work and training, his music showed unmistakable originality and promise. It was the kind encouragement of Brahms which permanently steered Graener towards composition.
In 1896, Graener settled in London, dividing his time between the tedious task of conducting the orchestra of the Haymarket Theatre, and more congenial work of teaching at the Royal Academy of Music. But the restlessness which was so vital a part of Graener's personality would not permit him to settle for a long while anywhere. In 1908, this wandering minstrel went to Vienna to become head of the New Conservatorium. Two years later, we find him in