Wenzel Kopta Vocal and Instrumental Concert

Event Information

Steinway Hall

Agricol Paur

Performance Forces:
Instrumental, Vocal

Record Information


Last Updated:
12 November 2017

Performance Date(s) and Time(s)

17 May 1868, 8:00 PM

Performers and/or Works Performed

Composer(s): Kuntze
Participants:  Deutscher Liederkranz
Composer(s): Esser
Composer(s): Hölzel
aka Variations hongroises; Variations, violin (Hungarian); Variations on Hungarian songs
Composer(s): Ernst
Participants:  Wenzel Kopta
Composer(s): Paganini
Participants:  Wenzel Kopta
Composer(s): Mendelssohn-Bartholdy
Participants:  Wenzel Kopta
Composer(s): Diabelli
Participants:  Minnie Hauk
Composer(s): Raff
Participants:  Alide Topp
aka Fantasie on L’Africaine; Reminiscences of L'Africaine
Composer(s): Liszt
Participants:  Alide Topp
Composer(s): Gounod
Participants:  Minnie Hauk


Advertisement: New York Herald, 14 May 1868.
Advertisement: New-York Times, 14 May 1868, 7.
Review: New York Herald, 18 May 1868.
“Wenzel Kopta, violinist, had a large house at his concert at Steinway Hall last night and a generally pleasing programme. The fact of the leading vocal society of New York, the Liederkranz, making their appearance in full force, was a sufficient inducement to attract people even at the present time when concerts are below part. The Liederkranz sang ‘Hope’ and the ‘Kiss’ two of their admirable pieces, with an ensemble, spirit and expression rarely heard in chorus singing in this city. Fred. Steins, the unrivalled basso of the society, sang two songs by Esser & Holzel, and Mr. Kopta played a solo by Ernst, one by Paganini and the andante from Mendelssohn’s concerto. Miss Minnie Hauck made a bad selection in Diabelli’s Philomela variation, which is mere nonsense in the concert hall. She should guard also against using cadenzas and roulades where they are not wanted, and remember that her beautiful, fresh young voice needs, as Miss Tabitha Stork would say, ‘nothing of the sort.’ Miss Alida Topp did not play with her accustomed fire and brilliancy last night, neither in Raff’s ‘Polka de la Reine,’ which is, however, at most all ‘fuss and fury,’ nor in Liszt’s ‘L’Africaine’ fantasia. She did not give any indication of the clean, crisp touch and nervous strength of finger with which we have credited her on previous occasions. William Pecher officiated as organist.”
Review: New-York Times, 18 May 1868, 5.

“Mr. WENZEL KOPTA’S concert last evening was well attended, as it deserved to be. Miss MINNIE HAUCK sang two pieces with fine effect, and, of course was encored. The young lady has a charming voice, and uses it with increasing skill. The Russian melody which she substituted for the first encore, was delicately and beautifully rendered. Mr. STEINS—the other vocalist—was somewhat out of order, and barely did justice to the magnificent voice which he undoubtedly possesses. Miss ALIDE TOPP played with her usual combination of excellence and uncertainty; very effective where she was good, and singularly careless when she was otherwise. Mr. KOPTA was welcomed with warmth and played with fervor. He is a solid and desirable artist. The Liederkranz Society assisted, and Mr. W. F. PECHER presided at the organ.”

Review: New-York Daily Tribune, 18 May 1868, 8.

“Last evening Mr. Wenzel Kopta, the talented young violinist, who has been very favorably received in a number of Soirees this season, gave a concert under his own name at Steinway Hall. Mr. Kopta was able to call to his assistance on this occasion Miss Minnie Hauck, Miss Alida Topp, Mr. Frederick Steins, and some others, beside a male choral deputation from the German Liederkranz, led by Mr. A. Paur. Mr. Kopta was heard in Ernst’s Variation Hongrois, and in the Paganini Fantasie—‘Di Tanti Palpiti.’ In both pieces he exhibited that accuracy of intonation, force, and skill that characterize his style, and have earned for him a reputation second to that of none of our resident violin virtuosi. His reception was most cordial. Miss Hauck selected for her share in the programme the ‘Philomele Variation,’ by Diabelli, and also took the vocal part in Gounod’s superb ‘Ave Maria,’ with which the concert closed. To Mr. Fred Steins we were indebted for a couple of lieder, given with good taste and displaying a very ponderous baritone of fair compass. Miss Alide Topp introduced Raff’s bravura ‘Polka de la Reine,’ and for the first time here, Liszt’s Fantasie, sur ‘L’Africaine.’ As a matter of course, the young lady, who has taken a foremost position here, was heartily welcomed, and earned applause without stint. But we are bound to confess that we have heard her under happier circumstances—when she seemed in brighter mood and possessed more self-command. Still she played effectively, and betrayed skill enough to amply protect the prestige belonging to her name. The novelty by Liszt is for the most part a verbatim transcription of the ‘Indian March’ in the ‘Africaine.’ The subsequent variations are wondrously weak and insipid. That Liszt could have sent such an unprofitable score to press is incomprehensible. The Liederkranz were moderately successful in rendering a couple of choruses in their vernacular and not remarkable as compositions. The concert was well attended, and apparently benefited Mr. Kopta very handsomely.”