Deutsche Liederkranz Musical Soiree: 3rd

Event Information

Venue(s):
Liederkranz Hall

Manager / Director:
Agricol Paur

Event Type:
Chamber (includes Solo)

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
23 October 2021

Performance Date(s) and Time(s)

06 Mar 1864, Evening

Program Details



Performers and/or Works Performed

1)
LIST OF PERFORMER(S)/ORGANIZATION(S)
Participants:  Deutscher Liederkranz, female chorus;  Johanna Rotter;  Joseph Noll;  Frederick Bergner;  Ludwig Quint;  Matilda [soprano] Paulitsch;  Fraulein Rotter [NOT Johanna]
2)
"Fratres ego enim accepi"
Composer(s): Palestrina [Prenestino, etc.]
3)
Trio, C major, unidentified
Composer(s): Beethoven
Participants:  Joseph Noll;  Frederick Bergner;  Agricol Paur
4)
Nozze di Figaro, Le, duet
Composer(s): Mozart
Participants:  Johanna Rotter;  Fraulein Rotter [NOT Johanna]
5)
"Liebe, Die," op. 66
Composer(s): Lachner
Participants:  Deutscher Liederkranz, male chorus
6)
INTERMISSION
7)
Lobgesang
aka Hymn of praise; Symphony, no. 2, op. 52, cantata; Symphony, no. 2, op. 52. Lobgesang
Composer(s): Mendelssohn-Bartholdy

Citations

1)
Advertisement: New-Yorker Staats-Zeitung und Herold, 06 March 1864.

2)
: Strong, George Templeton. New-York Historical Society. The Diaries of George Templeton Strong, 1863-1869: Musical Excerpts from the MSs, transcribed by Mary Simonson. ed. by Christopher Bruhn., 06 March 1864.

“Concert of L.K. in eve.  I am in pretty good voice, my throat is much improved.”

3)
Review: New-Yorker Staats-Zeitung und Herold, 08 March 1864, 8.

“The German Liederkranz’ third musical soirée, held in Liederkranz Hall Sunday evening, offered the large audience a rich and well-performed program. The success of the opening pieces of each part of the concert, Palestrina’s Fratres ego and Mendelssohn’s ‘Lobgesang,’ sung by the mixed chorus, is clearly the result of frequent and diligent practice. The women’s choir, in particular, was impeccable. The most beautiful and challenging parts of the pieces (in which the solos by Mesdames Rotter and Paulitsch and Mr. Quint were sung with deep understanding) were performed with a precision that would bring honor even to professional singers. 

Beethoven’s trio in C major, in which Messrs. Noll and Bergner participated with their usual mastery, and a duet by Miss and Mrs. Rotter, ensured that the concert contained an interesting variety.

Conductor Paur can be proud of his achievements and the success of this concert.”