Born: January 17, 1908 (Chicago, IL)

Died: September 1983

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Cellist Lillian Rehberg Goodman was a winner of the Naumburg Award in 1931, in June of 1931, was awarded first prize for 'cellists by the National Federation of Music Clubs at San Francisco. Ms. Rehberg appeared as soloist with the Chicago Symphony Orchestra at the age of 15. She was a member of the Marianne Kneisel String Quartet. Her studies were in Chicago and in New York with Hans Hess and Alfred Wallentein.

Ms. Rehberg presented her New York debut recital under the auspices of the Naumburg Foundation on October 10, 1931 in Town Hall assisted by pianist Walter Golde offering:

Corelli: Sarabande

Bach-Campbell: Prelude No. 8

Corelli: Gavotte

Brahms: Sonata in E minor

Kodaly: Sonata for unaccompanied cello

Granados-Cassado: Intermezzo from opera Goyescas

Cassado: Spanish Serenade

Bloch: Supplication

Chausson: Interlude

Cyril Scott: Pastoral and Reel

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She served as president of the Violoncello Society New York from 1972-1975.

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Excerpt from The New York Times review, October 10, 1931

Young 'Cellist is Welcomed

"It is always a pleasure to welcome a young and new artist who seems to have something to say and the means in which to say it. At her debut recital yesterday afternoon in the Town Hall Miss Lillan Rehberg , 'cellist, showed that she possessed both...She was enthusiastically received by her audience."

Excerpt from The New York Times review, April 19, 1958

Lillian Goodman Offers 'Cello Recital

"Half of the musical Goodman family gave a program last night in Carnegie Hall. She was Lillian Rehberg Goodman, and she played the 'cello. Her husband, Saul Goodman, is the celebrated tympanist of the New York Philharmonic. Mrs. Goodman gave a fine recital and one that got better as the evening progressed. Her program consisted of four sonatas -- Bach's in G minor, the Kodaly for unaccompnied 'cello, Barber's in C minor and Beethoven's in A, Op. 69. She is no stranger to the concert hall, having won a Naumburg award, toured the country and appeared with orchestras... her tone rang true and, in the Barber and Beethoven sonatas, was subtly colored. She played Bach buoyantly, with fine rhythm and cohesive sense of phrase. Her tempos, too, were well chosen. She did some extremely sensitive work in the second movement of the Barber sonata, and the way she outlined the opening phrases of the Beethoven Sonata in A , with several varieties of bowing was the product of a very thoughtful musician." Harold C. Schonberg

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