Amanda's father, Carl Edward Maier who like his daughter passed the "Musik-direktor" exam in Stockholm (1852). He was the son and grandson of a schoolmaster in Riedlingen in the former kingdom of Wuertemberg in Germany.
Amanda with her eldest son Julius Jr., Fridtjof Thiadens' father.
Julius Jr. with his Norwegian wife, and Agnes Roentgen in New York where they lived from 1908 to 1913. Julius Jr. was the second violinist in the famous Kneisel Quartet, from 1907-1912 traveling through all of North America playing the Stradivarius that he inherited from his grandfather, Engelbert Roentgen Sr.
The two sons of Amanda in Woodstock USA 1947: Julius Roentgen Jr. (with the violin) and Engelbert Roentgen Jr. (with the cello). At the beginning of World War I Engelbert escaped to America. He subsequently returned with the U.S. army to France, playing as cellist for the generals, and as trumpeter for the troops. He worked all his life in America, mainly as first cellist in the New York Metropolitan Opera Orchestra.
4 comments:
Dear Vivian Fine,
I've read on your fascinating and informative blog that among your many interests is a particular one for Amanda Maier and her compositions. It occurred to me that you might like to know, Noteworthy Musical Editions recently published my edition of Maier's Violin Concerto in One Movement, composed in 1875. The reduction for violin and piano is now available on Amanzon.com, as is the detached violin part (which is published separately.) The orchestral score and sets of orchestral parts are available only on rental directly from Noteworthy Musical Editions (email: noteworthymusic@zasu.us).
The concerto, in D minor, is a dramatic, virtuoso work, about 17 minutes in duration. It is not in three contrasting sections compressed into one continuous movement -- as is, for example, Joseph Joachim's Violin Concerto No. 1. Rather, it is a large-scale movement in sonata-allegro form, with a rich symphonic role for the orchestra. There are intimations of Grieg, Mendelssohn and even Brahms. But Maier had a fiery voice of her own in this work. The high point, in my view, is the majestic violin cadenza -- which is free and intense.
There are now plans underway to perform the concerto in the near future with a major orchestra in Europe (but I'm not at liberty yet to disclose any details.) This will be the first performance since Maier last played it in 1879. When the first performances are set, I can let you know -- if you like.
I gather you recently had some contact with Fridtjof Thiadens (Maier's great-grandson, I believe.) I wonder whether you could possibly put me in touch with him. I have some important questions I would like to ask him. I can always be reached by email through Noteworthy Musical Editions.
With best wishes,
Mark Starr
I don't know where you got your information on Joachim's Concerto in G minor, Op. 3, but it, too, is in a single extended sonata-form movement, not in 3 contrasting sections, as you put it.
Mr. Starr also addressed me as Vivian Fine!
There is no doubt that Maier's violin concerto is the first movement of a three-movement-concerto. Amanda wrote in her diaries that she surprised Julius with the finished 2nd and 3rd movement on his birthday. The character of the piece is also typical for a first movement. But hopefully the two remaining movements will be found and restored in the future! / Greetings from Sweden!
Post a Comment