Rubin Goldmark (1872-1936) was born in New York City. His father, Leo, had emigrated to the United States from Austria and was the younger brother of the then-famous Austrian composer Carl Goldmark. Rubin studied piano at the City College of New York and was then sent to his Uncle Carl’s care in Vienna, where he attended the Vienna Conservatory, studying with Robert Fuchs and Anton Door among others. After the conclusion of his studies in Vienna, Goldmark returned to the United States and continued his composition studies with Dvorak and his piano studies with the virtuoso pianist Rafael Joseffy. Dvorak, who attended the premiere of Goldmark's Piano Trio, was heard to remark, “And now there are two Goldmarks”. Subsequently, he pursued a career as a pianist, composer, and teacher. During his lifetime, his compositions were among the most frequently performed by American composers. Today, if he is remembered at all, it is as a teacher of George Gershwin and Aaron Copland. He served as a professor of composition at the newly opened Juilliard School of Music.
His Piano Quartet in A Major, Op.12 was composed in 1909 and was the winner of the Prestigious Paderewski Prize for American composers. It was dedicated to his piano teacher, Fafael Joseffy. The big opening movement, Allegro non troppo, ma con spirito, is clearly in the tonal world of late German Romanticism with its broad themes and lovely melodies. After a brief piano introduction, the cello gives out the appealing main theme, which sounds rather like something Dvorak might have penned. The movement is full of excitement and forward motion. In the second movement, Poco Adagio, once again, it is the cello that gives out the main theme, this time with a long and highly romantic aria. When the violin joins in, it becomes a lovers' duet. This is highly romantic and passionate music. The very original Allegro molto, which follows, is dominated by its off-beat rhythms, which give the music a kind of grotesque feeling, musically speaking, reminiscent of Dukas. The finale, Allegro con fuoco, has what might be styled as Central European Romantic melodies but sifted through an American filter. This modern American feeling may well have been the reason Goldmark's work won the prize for his piano quartet.
It would not be far wrong to call this fine work a masterpiece. It is a pity that it has been neglected and until now consigned to oblivion. By reprinting it, we are hoping that professionals will take notice and bring this gem back to the concert hall. Experienced and competent amateurs will also appreciate this work.
