COMPOSER Conductor EUGENE GOOSSENS Hand SIGNED AUTOGRAPH + PHOTO +DECORATIVE MAT

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Seller: judaica-bookstore ✉️ (2,803) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285678674827 COMPOSER Conductor EUGENE GOOSSENS Hand SIGNED AUTOGRAPH + PHOTO +DECORATIVE MAT. Sir Eugene Aynsley Goossens (/ˈɡuːsənz/; 26 May 1893 – 13 June 1962) was an English conductor and composer. In 1921 he decided to make conducting his career and founded his own orchestra; with this ensemble he made a number of gramophone records for Edison-Bell's Velvet Face label.     DESCRIPTION :  Up for auction is s NICELY and BOLDLY HAND SIGNED original AUTOGRAPH ( With a fountain pen ) of the acclaimed composer and  conductor EUGENE GOOSSENS which is beautifuly and professionaly matted beneath a vintage reproduction PHOTO ( With additional printed inscription ) . The original hand signed AUTOGRAPH ( Autogramme - Signature ) and the reproduction PHOTO are nicely matted together , Suitable for immediate framing or display . ( An image of a suggested framing is presented - The frame is not a part of this sale - An excellent framing - Buyer's choice - is possible for extra   $80 ). The size of the decorative mat is around 11.5 x 7.5 " . The size of the reproduction photo is around 6.5 x 5 " . The size of the original hans signed autograph - signature  is around 1.5 x 3.5 " . Very good condition of the original hand signed autograph, The reproduction photo and the decorative mat .  ( Pls look at scan for accurate AS IS images )  Authenticity guaranteed.  Will be sent inside a protective rigid packaging .    PAYMENTS : Payment method accepted : Paypal . SHIPPMENT :SHIPP worldwide via registered airmail is  $ 29  . Will be sent inside a protective packaging. Handling around 5-10 days after payment. Sir Eugene Aynsley Goossens (/ˈɡuːsənz/; 26 May 1893 – 13 June 1962) was an English conductor and composer. Contents 1 Biography 1.1 Scandal2 Marriages and children3 Death4 Legacy5 Bibliography6 Discography7 References8 External links Biography Blue plaque, 70 Edith Road West Kensington, London He was born in Camden Town, London, the son of the Belgian conductor and violinist Eugène Goossens (fils, 1867–1958) and grandson of the conductor Eugène Goossens (père, 1845–1906; his father and grandfather spelled Eugène with a grave accent; he himself did not). He studied music at the age of ten in Bruges, three years later in Liverpool, and in 1907 in London on a scholarship at the Royal College of Music under composer Charles Villiers Stanford and the violinist Achille Rivarde among others. He won the silver medal of the Worshipful Company of Musicians and was made associate of the Royal College of Music. He was a violinist in Thomas Beecham's Queen's Hall Orchestra from 1912 to 1915 and performed in the Philharmonic Quartet before coming to attention as Beecham's assistant conductor with a performance of Stanford's opera The Critic (1916). In 1921 he decided to make conducting his career and founded his own orchestra; with this ensemble he made a number of gramophone records for Edison-Bell's Velvet Face label. He gave the British concert premiere of Igor Stravinsky's The Rite of Spring on 7 June 1921 at the Queen's Hall with the composer present. For nearly a quarter of a century, he accepted positions at U.S. orchestras. At the invitation of George Eastman he was conductor of the Rochester Philharmonic Orchestra from 1923 to 1931. This post also involved teaching at the Eastman School of Music. During the late 1920s he often conducted for Vladimir Rosing's American Opera Company, an organization which grew out of the Eastman School. From 1931 to 1946 he succeeded Fritz Reiner as the conductor of the Cincinnati Symphony Orchestra. In a tribute to Goossens on his departure for Australia, nine American composers collaborated on Variations on a Theme by Eugene Goossens, for orchestra. The composers were Ernest Bloch, Aaron Copland, Paul Creston, Anis Fuleihan, Roy Harris, Walter Piston, Bernard Rogers, Roger Sessions and Deems Taylor, with Goossens himself writing the finale.[1] Goossens spent nine years in Australia, from 1947 to 1956. He conducted the Sydney Symphony Orchestra and other groups, and was the director of the NSW State Conservatorium of Music. He held these positions concurrently until March 1956, when he was forced to resign after a major public scandal, only a year after being knighted. Scandal In the early 1950s, Goossens met Rosaleen Norton, the so-called "Witch of Kings Cross". Norton was known as an artist of the grotesque and for her interest in the occult and erotica, which Goossens secretly shared. They conducted an intense affair, exchanging a number of passionate letters; although Goossens asked Norton to destroy all of them, she kept a bundle hidden behind a sofa.[2] In early 1956, Goossens visited Europe, unaware that Sydney police were already in possession of his letters to Norton and photographs of her occult activities, which had been stolen from her flat by Sydney Sun reporter Joe Morris, who had infiltrated her supposed "coven". When Goossens returned to Australia on 9 March 1956, he was detained at Sydney Airport, following a tip-off by informants in London; his bags were searched by Customs officials, who found a large amount of what was then considered pornographic material, which included photographs, prints, books, a spool of film, some rubber masks, and sticks of incense. Although he was not immediately arrested or charged, Goossens naively agreed to attend a police interview a few days later, where he was confronted with photographs of Norton's "ceremonies" and his letters. Faced with the evidence of his affair with Norton – which left him open to the serious charge of "scandalous conduct" – Goossens was forced to plead guilty to the pornography charges. He paid a fine of ₤100; more significantly, the scandal ruined his reputation and forced him to resign from his positions. He returned to England in disgrace. The scandal was the basis of a novel, Pagan (1990), by Inez Baranay; it also inspired a play, The Devil is a Woman, by Louis Nowra and an opera, Eugene & Roie, by Drew Crawford. The scandal is documented in the film The Fall of the House, directed by Geoff Burton.[3][4] Marriages and children He was married three times: to Dorothy Millar from 1919 to 1928 (with whom he had three daughters), to Janet Lewis from 1930 to 1944 (two daughters), and to Marjorie Foulkrod from 1946 to 1962 (childless). At the end of his life he and his wife lived apart, and he was instead joined by a young pianist from Adelaide, Pamela Main. Death His former student Richard Bonynge visited him near the end of his life, and found him "absolutely destroyed". Nevertheless, he was engaged for work with the BBC, and Everest Records asked Goossens to make some stereo recordings. For Everest he completed a powerful recording of Respighi's Feste Romane just before his death and it was released as the sole selection on the LP. He died of rheumatic fever and a haemorrhaging gastric ulcer on 13 June 1962 at Hillingdon Hospital in Middlesex. He was buried in St Pancras and Islington Cemetery. He left his estate including copyrights and royalties "to my faithful companion and assistant Miss Pamela Main". Legacy Among his works as a composer are two symphonies (1940, 1945), two string quartets, two violin sonatas and a concertino for octet among other chamber music. He wrote two operas. Don Juan de Manara was broadcast by the BBC on 11 April 1959 with Monica Sinclair, Marie Collier, Helen Watts, Marion Lowe, Bruce Boyce, Robert Thomas and Andrei McPherson.[5] The performance was conducted by Goossens himself. He wrote an oratorio, The Apocalypse, after the Revelation of St. John, and a concerto for oboe (1927), written for his brother, Léon Goossens. The concertino, from 1928, also exists in a later arrangement for string orchestra which is sometimes played. In 1942 Goossens wrote to several composers, including Aaron Copland, to request patriotic fanfares as "stirring and significant contributions to the war effort..." Copland responded to the request with his famous Fanfare for the Common Man. Eighteen fanfares were written by the different composers and performed during the 1942/43 season of the Cincinnati Symphony Orchestra.[6] In 1941 he made the first recording of the Symphony No. 2 by Tchaikovsky, with the Cincinnati Symphony Orchestra.[7] Goossens' recording ignored the cuts that were popular with conductors at that time. For Kapp Records, he recorded a bilingual version of Peter and the Wolf in 1959, featuring the actor José Ferrer narrating the story in both English and Spanish. The music was played by the Vienna State Opera Orchestra. The performance was later released on CD by MCA Records. Goossens is credited for much of the lobbying to the NSW Government to build a music performance venue, a process that led to the construction of the Sydney Opera House. Having agreed to go ahead with the project, the New South Wales Premier Joseph Cahill had wanted it to be on or near Wynyard Railway Station in the north-west of the CBD, but Goossens insisted that it be built at Bennelong Point overlooking Sydney Harbour. The site of Bennelong Point was confirmed in 1957, after he had left Australia. He is commemorated in the Eugene Goossens Hall, a small concert and recording facility that is part of the broadcasting complex of the Australian Broadcasting Corporation in Harris Street, Ultimo, in Sydney. Bibliography Goossens, Eugene (1972). Overture and Beginners: A Musical Autobiography. Westport, Connecticut: Greenwood Press. ISBN 0-8371-5597-5.Baranay, Inez (1990). Pagan. North Ryde, NSW: Angus & Robertson. ISBN 0-207-16681-1.Rosen, Carole (1994). The Goossens: A Musical Century. London: Andre Deutsch Ltd. ISBN 0-233-98833-5.Goossens, Eugene (1995). Cincinnati Interludes: A Conductor and His Audience. St. Austell: DGR Books. ISBN 1-898343-05-5.Hubble, Ava (1998). The Strange Case of Eugene Goossens and Other Tales from The Opera House. Sydney: Collins. ISBN 0-7322-2449-7. Discography A far from complete listing: George Antheil: Symphony No 4 and Alberto Ginastera: Estancia ballet suite, London Symphony Orchestra, Everest stereo LP SDBR 3013 (1958)Antheil: Symphony No 4 (and Aaron Copland: Statements for Orchestra, Aaron Copland conducting, London Symphony Orchestra), Omega/Everest CD reissue of 1958 LP: EVC 9039 (1996)John Antill: Corroboree ballet suite, Sydney Symphony Orchestra, HMVED1193-4/2A A206-9 (1950), reissued on Dutton CD CDBP 9779 (2007)Antill: Corroboree ballet suite and Alberto Ginastera: Panambi ballet suite, London Symphony Orchestra, Sir Eugene Goosens, conductor, Everest stereo LP, SDBR 3003Antill: Corroboree ballet suite and Alberto Ginastera: Panambi ballet suite, Estancia ballet suite, Heitor Villa-Lobos: The Little Train of Caipira, London Symphony Orchestra, Omega/Everest CD reissue of 1958–59 Everest LPs: EVC 9007 (1994)Arnold Bax: Tintagel, New Symphony Orchestra of London, HMV C1619-20, CR2017-19, (1928), reissued on Dutton CD CDBP 9779 (2007)Bax: Mediterranean, New Symphony Orchestra of London, HMV C1620 CR2025, (1928), reissued on Dutton CD CDBP 9779 (2007)Bax: Symphony No. 2, BBC Symphony Orchestra, live broadcast, 2 November 1956, Dutton CD CDBP 9779 (2007)Hector Berlioz: Symphonie fantastique, London Symphony Orchestra, Everest stereo LP (1959); reissued as Vanguard/Everest CD EVC 9017, (1995).Eugene Goossens: Four Conceits, Op.20 (~1917–1918), Goossens' Orchestra, cond. Eugene Goossens. Edison Bell 'Velvet-Face' 1042 (10" (25 cm) 78 rpm), masters 7325, 7326. Issued circa September 1922.Goossens: Tam O'Shanter, Op. 17a (1917), Royal Albert Hall Orchestra, HMV D694 Cc1777 (1922), reissued on Dutton CD CDBP 9779 (2007)Edvard Grieg: Peer Gynt Suite No. 1, London Philharmonic Orchestra, His Master's Voice/ElectrolaPaul Hindemith: Violin Concerto, Joseph Fuchs violin, London Symphony Orchestra, (with Hindemith: Symphony in E flat, Sir Adrian Boult conducting the London Philharmonic Orchestra), Omega/Everest CD reissue of Everest 1958–59 LPs: EVC 9009 (1994).Felix Mendelssohn: Symphony No. 3 Scottish, BBC Symphony Orchestra, His Master's Voice BLP 1045Mendelssohn: Symphonies Nos. 4 Italian and 5 Reformation, London Philharmonic Orchestra, Saga XID 5056Wolfgang Amadeus Mozart: Violin Concerto No. 3 and Paul Hindemith: Violin Concerto (world premiere recording), Joseph Fuchs, violin, London Symphony Orchestra, Everest stereo LP SDBR 3040 (1959)Modest Mussorgsky, orch. Maurice Ravel: Pictures at an Exhibition, Royal Philharmonic Orchestra, Pickwick SPC 4031Ottorino Respighi: Feste Romane and Sergei Rachmaninoff: Symphonic Dances, London Symphony Orchestra, Everest stereo LP SDBR 3004, (1958)Respighi: Feste Romane (with Respighi: Pini di Roma and Fontane di Roma conducted by Sir Malcolm Sargent), London Symphony Orchestra, Vanguard/Everest CD reissue EVC 9018 (1995)Nikolai Rimsky-Korsakov: Scheherazade, London Symphony Orchestra, World Record Club TP148Franz Schubert, Symphony in B minor (Unfinished), Royal Opera House Orchestra, His Master's Voice/Electrola (1925)Igor Stravinsky: Petrouchka, London Symphony Orchestra, Everest stereo LP SDBR 3033 (1959)Stravinsky: Symphony in Three Movements, London Symphony Orchestra, (and Stravinsky Ebony Concerto with Woody Herman orchestra) Everest stereo LP SDBR 3009 (1958)Stravinsky: Le Sacre du Printemps, London Symphony Orchestra, Everest stereo LP SDBR 3047 (1960)Stravinsky: Petrouchka, Symphony in Three Movements, London Symphony Orchestra, Vanguard/Everest CD reissue of Everest 1958 LPs: EVC 9042, (1996).Stravinsky: Petrouchka, Symphony in Three Movements, London Symphony Orchestra (and Stravinsky: Ebony Concerto with Woody Herman orchestra), Philips CD reissue of Everest 1958 LPs: Philips 422 303-2, (1989).Stravinsky: Le Sacre du Printemps and Sergei Rachmaninoff: Symphonic Dances, London Symphony Orchestra, Vanguard/Everest CD reissue of 1960 & 1958 LPs: EVC 9002 (1994).Stravinsky: Le Sacre du Printemps and Petrouchka, London Symphony Orchestra. Bescol/Compact Classics CD reissue of Everest 1959–1960 LPs: CD 514 (1987).Tchaikovsky: Manfred Symphony, London Symphony Orchestra, Everest stereo LP SDBR 3035 (1959); reissued as Omega/Everest CD EVC 9025 (with Jean Sibelius: tone poem Tapiola, Tauno Hannikainen conducting the London Symphony Orchestra) (1996).Tchaikovsky: 1812 Overture, Eugene Onegin Waltz, Royal Opera House Orchestra, His Master's Voice/Electrola · ABC has earned our gratitude for providing us with this three disc compilation of a substantial portion of Goossens’ output all presented in excellent sound and superbly played and conducted. · Isn’t it interesting that it takes an Australian company using first class Australian orchestras to promote a Belgian-born, British conductor-composer with this collection of his orchestral pieces. The ‘local’ input comes from Vernon Handley, England’s premier English music conductor. · In what turned out to be his final decade Goossens’ private life took him rapidly from international success as a much admired, popular conductor to social outcast. If his activities had been discovered in a contemporary musician, I doubt if anything at all would have happened, given the changes in our standards. · Goossens’ writing style shows a highly competent musical imagination at work, with none of these works, even his first effort, being totally dismissable. None of them, I would suggest, is a masterpiece, but given the paucity of much contemporary classical output, there is an enormous quantity of music in this set to enjoy. His writing style is completely tonal, with not much in the way of clashing harmonies, and there is direct evidence of development of the musical themes with clear and definite climaxes. His tunes could be a little more distinctive, but there are much worse about. · When Naxos distributed ABC recordings a few years ago, I owned one of the discs in this set, so I am not sure whether all of this output has been available before. I would expect, given the recording dates that all of these recordings have been available previously, but this issue is the first time I have been aware of their presence beyond Australia. · Goossens’ musical life started as a violinist, playing in a quartet. He then migrated to orchestral positions, finally joining Henry Wood’s Queen’s Hall Orchestra. Goossens regularly conducted the Diaghilev Ballets when the Ballets Russes were in the U.K. He also mounted London concerts of modern works with a specially engaged orchestra – a very risky business even then. Activities such as this gave him well-earned publicity and various invitations came his way from the U.S. Given these activities and his playing in contemporary orchestras, he must have been well versed in how to write for orchestra, and this is clearly evident in his orchestral music. · Disc 1 starts with his Symphony No. 1, written when the composer was in his mid-forties, a relatively long wait for a symphony - with a well known precedent. It is in four movements, Andante-Allegro con anima, Andante expressivo ma con moto, Divertimento-Allegro vivo, and Finale-Moderato – alla breve (con moto). The reason for his waiting for so long was apparently that in his profession as conductor he had heard such mediocre work from a variety of young composers that he felt unable to join their company. Strong symphonic development is certainly evident here. · We then move on to the Oboe Concerto, in one movement, played very expertly by Joel Marangella. This work was written for and premiered by Goossens’ brother, the famous Leon Goossens at a 1930 Henry Wood Prom, with Wood conducting. It was contemporaneously described as "indulging in no far-fetched virtuosities, by concision it avoids tedium, the songful section has intrinsical musical quality, yet is not for the voice that sings it." · Tam O’Shanter then follows, quite different from Malcolm Arnold’s well known overture on the same subject. This very early work shows the composer wrestling (very successfully) with the resources of a large orchestra. I found this short scherzo very enjoyable lasting as it does for only just over three minutes. · The Concert Piece is written for oboe (doubling cor anglais) and two harps with orchestra. It was premiered again by Leon plus his two harpist sisters Sidonie (of BBC Symphony Orchestra fame) and Marie. This three movement work is entirely based upon the pizzicato and trumpet motifs heard in the first two opening bars. Based upon the writing it is obvious that the composer was showing off the undoubted abilities of his three siblings. In this recording, both the oboe and cor anglais parts are played by Joel Marangella, and the two harps by Jane Geeson and Sebastien Lipman. · Symphony No.2 which opens disc 2, was completed only five years after its predecessor in 1945. Given when it was composed, it is not surprising that the Second World War had much to do with its genesis. It is large, tough and angry and was written in the USA, in Maine, Cincinnati, Seattle and New York. It is also, like its predecessor, in four movements, Adagio-Vivace ma non troppo, Andante tranquillo, Giocoso (Interlude) and Andante-Allegro con spirito. · The Concertino for double string orchestra was written originally for chamber ensemble (string octet). Goossens later added the double bass part for orchestral performance so it can be played in either form. Here, the more difficult orchestral version is played. · The Op.36 Fantasy for nine wind instruments is a continuous four section work which looks to Walton and Stravinsky for inspiration. It is beautifully written and deserves to be better known. The wind soloists from the Sydney Symphony orchestra shine brightly in this performance. · Disc 3 opens with the Divertissement written in three movements. It was the composer’s last work, written during his difficult period with the Australian authorities. Originally to be premiered in Holland with the composer conducting, this didn’t happen because of the composer’s death. It was premiered instead, by the Sydney Symphony Orchestra under Joseph Post in 1963. It is in three dance movements, all of which were written previously as piano pieces. · We then hear Goossen’s Op. 1, Variations on a Chinese Theme, written under the tutelage of Stanford, his teacher at the Royal College in 1910. Written originally for piano solo, Stanford was sufficiently impressed to get the composer to orchestrate the work. Stanford also arranged to include the work in a concert on June 12th 1912. These variations were given with Weber’s Oberon Overture, Lalo’s Symphonie espagnole, and Dukas’s L’apprenti sorcier. In addition to mounting the work, Stanford also let the 19 year old composer conduct it - his first proper outing as a conductor. · We then move to The Eternal Rhythm which is another early work, premiered at the 1920 Proms by Sir Henry Wood. It was also featured in the inaugural concert of the International Society of Contemporary Music in December 1922, with the composer conducting the Berlin Philharmonic. It is a reasonably long work (20 mins) and is an exercise in dreamy impressionism, in the style of Strauss, Ravel and Debussy - a remarkable achievement for a 20 year old composer. · This three disc set is completed by Kaleidoscope, which is an orchestration of eight miniatures from a set of twelve, written for piano in 1917. They are largely about toys of various natures; charming little pieces, beautifully orchestrated. This should give much pleasure, approached at the right level. · As all of the music is pretty rare in the repertoire, it is difficult to judge whether these performances are the best that one could get – what is sure is that they are the only ones available at present. With Vernon Handley’s extremely high reputation in the field of British music, and given that these performances feel right, with plenty of committed playing from all three excellent orchestras, you may be sure that not much better is likely to come along in the foreseeable future. I enjoyed this set very much, and I can heartily recommend it to anyone looking for out of the ordinary music of the last century. · John Phillips The Goossens Fanfares During the 1942–43 season, CSO Music Director Eugene Goossens invited various composers to submit fanfares to be performed at subscription concerts. The composers seem mostly to be Americans, several later became well known. The only fanfare currently in the repertoire is Copland's Fanfare for the Common Man. The titles salute various aspects of the war effort. Also during the season, national anthems from Allied countries opened the concerts. All fanfares, with their premiere date, are listed below. 1. A Fanfare for Airmen, Bernard Wagenaar, Oct. 9, 1942 2. A Fanfare for Russia, Deems Taylor, Oct. 16, 1942. 3. A Fanfare for the Fighting French, Walter Piston, Oct. 23, 1942. 4. A Fanfare to the Forces of our Latin-American Allies, Henry Cowell, Oct. 30, 1942. 5. A Fanfare for Friends, Daniel Gregory Mason, Nov. 6, 1942. 6. A Fanfare for Paratroopers, Paul Creston, Nov. 27, 1942. 7. Fanfare de la Liberte, Darius Milhaud, Dec. 11, 1942. 8. A Fanfare for American Heroes, William Grant Still, Dec. 18, 1942. 9. Fanfare for France, Virgil Thomson, Jan. 15, 1943. 10. Fanfare for Freedom, Morton Gould, Jan. 22, 1943. 11. Fanfare for Airmen, Leo Sowerby, Jan. 29, 1943. 12. Fanfare for Poland, Harl McDonald, Feb. 5, 1943. 13. Fanfare for the Medical Corps, Anis Fuleihan, Feb. 26, 1943. 14. Fanfare for the American Soldier, Felix Borowski, March 5, 1943. 15. Fanfare for the Common Man, Aaron Copland, March 12, 1943. 16. Fanfare for the Signal Corps, Howard Hanson, April 2, 1943. 17. Fanfare for the Merchant Marine, Eugene Goossens, April 16, 1943. Performed at a "popular" concert: 18. Fanfare for Commandos, Bernard Rogers, Feb. 20, 1943. Artist Biography by Christopher Hill Most often remembered as a highly regarded conductor with substantial tenures as music director of both the Cincinnati and Sydney Symphony orchestras, Eugene Goossens was also an important composer of twentieth-century music. Had the achievements of his career not been overshadowed by an unfortunate scandal and fall from grace in his last years, his legacy would likely have been even more significant. Born in London and of Belgian heritage, Goossens trained as a violinist at the Bruges Conservatory and the Liverpool College of Music. It was not until he attended the Royal College of Music that he began serious composition study, with Sir Charles Villiers Stanford. Among his first compositions from 1911-13 are the Variations on a Chinese Theme and the Octet (written for flute, clarinet, horn, harp, and strings). These works utilized an early style strongly reminiscent of the French impressionists Claude Debussy and Maurice Ravel, and drew strong praise from the elder statesmen of the composition circle at that time, including Frederick Delius. In order to support himself, Goossens followed in the footsteps of his father and grandfather, both of whom were conductors. He trained as the assistant conductor to Sir Thomas Beecham, and began to develop an impressive conducting career. In 1921, he gave many Londoners their first Stravinsky experience in the premiere UK performance of Le Sacre du Printemps. In 1923, George Eastman (of Kodak fame) invited him to become the first music director of his newly formed Eastman-Rochester Philharmonic Orchestra. Following continued success there, he was offered the helm of the Cincinnati Symphony in 1931, where he was active in commissioning a number of new works, including Aaron Copland's masterpiece Fanfare for the Common Man (1942). Although a composer of modest number, Goossens composed works in nearly every genre. His first significant orchestral work, Sinfonietta (1922), was championed by Arturo Toscanini. His most popular works include his Oboe Concerto from 1927 (written for his brother, Leon Goossens), two symphonies from 1940 and 1945, and two operas drawn on libretti by Arnold Bennett. These include the opera Judith (in which Joan Sutherland made her debut in 1951) and Don Juan de Mañara. With the exception of premieres and a few rare occasions, Goossens never had a strong inclination to conduct his own works. It was in Sydney that Goossens would reach both the pinnacle of his career and the lowest depths of indignity. The Sydney Symphony Orchestra had been recently organized, and in 1947 Goossens was invited to become its first music director. Goossens was a visionary; although his dreams began small (the introduction of outdoor performances and increased visibility) they culminated with his groundbreaking idea and subsequent proposal for the Sydney Opera House. His many efforts were finally rewarded when he was knighted in 1955. A 1957 scandal with artist Rosaleen Norton severely affected Goosens and destroyed his Australian career. Forced to resign from his conducting posts, Gossens returned to England. His chronically ill health and a congenital heart defect contributed to a long period of illness following the scandal. Sketches for a ballet and third opera were left unfinished at his death in 1962. He is the author of Overture and Beginners: A Musical Autobiography. Biography English Eugene Goossens was born into a family of musicians: his grandfather (who moved to Britain from Belgium in 1873) and father, both called Eugene, were prominent conductors, mainly of opera; Eugene’s brother Leon was one of the most distinguished oboists of the twentieth century, his sisters Marie and Sidonie were harpists, and another brother, Adolph, who was killed in the First World War, played the horn. Eugene Goossens (III) was born in London on 26 May 1893, though the family home was in Liverpool. At the age of eight he was sent to boarding school in Bruges, and at ten he began to study music in the Conservatory there, as his grandfather had done; from the age of thirteen he attended the Liverpool College of Music. In 1907 he went to the Royal College of Music in London, studying violin and, from 1910, composition, with Sir Charles Villiers Stanford and with Charles Wood. He had begun to conduct as a student, and in 1913 he conducted one of Sir Henry Wood’s Promenade Concerts at the Queen’s Hall. Initially, though, he earned his living as a violinist, playing in several string quartets. In January 1916 (a heart condition having saved him from war service) he stood in for Beecham at the first performances of Stanford’s opera The Critic, and thus began a fruitful relationship with Beecham as protégé and deputy. In 1921 he established an orchestra for five concerts of modern music, one of which (7 June 1921) included the first UK performance of The Rite of Spring, in the presence of Stravinsky, Diaghilev and Massine. Diaghilev responded by engaging Goossens to conduct the Ballets Russes. In 1923 Goossens was appointed conductor of the Rochester Philharmonic in upstate New York, and in 1931 he became conductor of the Cincinnati Symphony Orchestra, remaining there until 1946. The next year he took up the position of director of the New South Wales Conservatory of Music, a post he held until 1956, by which time he was also chief conductor of the Sydney Symphony Orchestra. He was knighted in 1955. He resigned his posts in 1956 and spent the rest of his career working free-lance until his death on 13 June 1962. Although Goossens’ first compositions were small-scale – piano pieces, songs, chamber music – he was writing confidently for orchestra from early on, producing the Variations on a Chinese Theme (1911), Miniature Fantasy for strings (1911), Perseus, a symphonic poem (1914), and Ossian, a symphonic prelude (1915). At this stage his music generally shows the influence of the French school, Debussy in particular. His First Symphony was completed in 1940, in Cincincatti, and the Second Symphony was premiered in 1946. Goossens composed two operas, Judith (1925) and Don Juan de Mañara (1934), a massive oratorio, Apocalypse (1951), and a generous quantity of other works, orchestral, chamber, instrumental. His music was lost from sight for some years after his death but began to re-emerge from the mid-1990s with recordings from the Australian Broadcasting Corporation. Eugene Goossens is published by Boosey & Hawkes. This biography can be reproduced free of charge in concert programmes with the following credit: Reprinted by kind permission of Boosey & Hawkes   ebay3182
  • Condition: Very good condition of the original hand signed autograph, The reproduction photo and the decorative mat . ( Pls look at scan for accurate AS IS images )
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