Deutscher Liederkranz Musical Soiree: 2nd

     Includes program. “Only a limited number of tickets for non-members are available for $ 1.00, and they are only available through members.”

     The concert opened with Schubert’s Mondschein Ständchen, whose beauty lies in the leading tenor part; unfortunately the beauty was not delivered, and, therefore, the entire piece lost its effect.  Mr. Pattison played a Handel Fugue in E minor and a Prelude and Scherzo by Wallace. He played both pieces accurately and nicely, but the works were not really appropriate for him, as he is known as an extraordinary performer. In the second part, Mr. Pattison played his own transcription of themes from Tannhäuser. It was brilliantly and elegantly played, and received very well.

     The unknown composition Die lustigen Musikanten, by Hiller, was appealing, with its cheerful, funny and original tone.  The women’s soli and the mixed choir in this piece performed well.  The highlight of the concert was Bergmann’s Alpenklänge, for cello, which was performed with Mollenhauer’s tender touch. The audience’s request for an encore was answered with variations on the Carneval in Venedig.  The concert closed with Mendelsohn’s finale from the first act of Lorelei, the opera that was finished by Max Bruch.  Here the genius of the young composer shows that he was clearly moving in a dramatic direction.  The melodious verve of the leading soprano’s main part keeps flowing and rising uninterruptedly with the singing of the Leonore.  It was a fine specimen of almost unequaled German romanticism.  The solo part, sung by Mathilde Paulitsch, was performed with confidence and sensitivity; the choirs sounded precise, splendidly full and well-rounded; and the excellent piano accompaniment of Mr. Timm lifted the concert to its heights.  The Deutsche Liederkranz and its director Mr. Paur continues to strive with diligency towards excellence.