• LAUB, Ferdinand: soloist, vl
• GRAF, Vilém: soloist, pf
• LUKES, Jan Ludevít: soloist, v

Mercy’s Anzeiger 8/3/1857 reported that ‘The pianist Mr W. Graf and the violinist Mr F. Laub, both known to be distinguished artists, arrange this month in Prague three Concert-Soirées, the first of which takes place next Thursday in the Konvikt Hall. It contains Beethoven’s Sonata op.30 for violin and piano, the „Othellofantasie“ by Ernst, a Duo on „Don Juan“ by Vieuxtemps and Wolf and two concertante piano pieces; additionally Mr Lukes will support the concert-giver with song performances.’

Also on 8/3/1857, the German-language Prague newspaper Tagesbote aus Böhmen reported on Laub’s forthcoming performances in the city. The report noted that Laub would be arriving in Prague ‘tomorrow’ [9/3/1857], and would ‘delight us with a cycle of soirées of dignified chamber music’. Performing too would be the pianist Wilhelm Graf. The occasion was deemed interesting not only for the presence of the two accomplished artists, but also from the chamber music content of the programme. The first soirée was noted to be taking place ‘next week’ and would also bost the participation of the ‘splendid concert-singer’ Mr Lukes. Evidently Laub arrived in the city not on 8th March but on the 10th. Tagesbote aus Böhmen 10/3/1857 reported: ‘Laub arrives in Prague this morning for the concerts that he has arranged in Prague in conjunction with the pianist Wilh. Graf. The first concert takes place next Thursday 12th at noon in the Konvikt Hall.’ The source commented that according to reports Mr Graf, a pupil of Tomaschek [Tomášek] would demonstrate his grateful reverance for his late master through the inclusion of some of the more significant of his works in each Laub-Graf programme. The programme to the concert was related by Tagesbote aus Böhmen 11/3/1857. This noted: ‘Programme to the concert of the concertmaster Ferdinand Laub and the pianist Wilhelm Graf taking place tomorrow 12th March at 5½ o’clock in the Konvikt Hall: 1) Great Sonata for pianoforte and violin (op.30 nr.2) by L. v. Beethoven, performed by W. Graf and F. Laub. 2. „In die Ferne“ Lied by Tomaschek, performed by Mr Lukes. 3. La Cascade by Ernst Pauer, performed by W. Graf. 4. Saltarella, composed and performed by W. Graf. 5. Othello-Fantasie by Ernst, performed by Ferd. Laub. 6.a) Holubice by Ferd. Laub, b) Abschied by Heinr. Esser, performed by Mr Lukes. 7. Grand Duo on themes from Mozart’s „Don Juan“ by Vieuxtemps and Wolff, performed by F. Laub and W. Graf. – Mr Lukes, out of particular respect to the concertgiver, has kindly agreed to participate.’ An advertisement for the event, with almost identically worded full programme details as the previous day’s Tagesbote aus Böhmen report, appeared in Tagesbote aus Böhmen 12/3/1857. The only difference in content between these two sources was the note appended to the advertisement giving details for the purchase of concert tickets. This related: ‘Tickets in the Circle at 2fl., in the Hall [i.e. the stalls] at 1fl. and Gallery at 30kr, are to be obtained from the Art and Music Shops of J. Fischer and Christoph and Kuhé.’

More detailed information about this event appeared in the Czech periodical Lumír 12/3/1854, in an article that gave firstly a brief resumé of other concerts given or due to be given during the Lenten season.  The source reported that ‘In addition to the celebrated concert of Dreyšok [Dreyschock - the pianist was to appear in Prague in a concert three days later on 15/3/1857] will be the most interesting cycle of musical entertainments that our excellent Ferdinand Laub together with the well-known pianist Vilém Graf, one of the best pupils of the immortal Tomášek, are arranging in the Konvikt Hall.’ The programme of ‘today’s first concert’ was then listed; ‘an interesting addition will be singing by Lukes, who will perform „In der Ferne“ by Václav Jan Tomášek, a song by Esser and Laub’s Czech song „Holubice“. Undoubtedly the hall will be full.’

Mercy’s Anzeiger 12/3/1857 reported the date, time, venue and participating soloists of this ‘Concert-Soirée of Messrs Ferd. Laub and Wilh. Graf’, as well as listing in detail the programme by number. This was in similar order to the programme listing given in the contemporary issue of Lumír, and is utilized as the order of the programme in the database event record, ending not with songs by Lukes as in the Lumír source but with the concert-givers Laub and Graf. This issue of the newspaper also published an advertisment announcing: ‘Today Tursday 12th March takes place the Concert-Soirée of the Kapellmeister Ferdinand Laub and the pianist Wilhelm Graf in the Konvikt Hall. Commencing evening 4.30 o’clock. Admission tickets, to the circle at 2fl, to the hall [Saal] 1fl and gallery 30kr, and programmes are to be found in the music shops of Ad. Christoph and W. Kuhé, Egidygasse Nr.453-1 and Jac. Fischer at the Karolinum, and in the evening [of the event] from the box office [of the venue].’

A review, signed ‘z.’, was published by Mercy’s Anzeiger 13/3/1857: ‘It pleases us to be again able to report upon a concert that is worthy of being called one of the most excellent of this season. This stemmed from the tasteful choice [of programme and] its brilliant execution... We have already learned to appreciate highly the two concert-givers through their individual performances, and therefore, reinforced by their good reputation, we anticipated delectation from the effort of their combined endeavours. And yesterday such expectation was comprehensively rewarded. A worthy interpretation of Beethoven’s sonata op.30 no.2 requires Laub’s masterly violin playing and Graf’s expert and delicate performance on the piano. This seldom heard piece was indeed a commendable start to the concert evening. The performance of both artists was artful and sophisticated, their technique appeared to be too, vying with each other in the final Duo on [themes from] „Don Juan“ by Vieuxtemps and Wolf. Here, as well as in the solo performances, the artists [who were warmly welcomed] gained cordial recognition. Mr Laub played the „Othellofantasie“ by Ernst. It is not an overstatement to describe the performance of this piece, overloaded with immense difficulties, accomplished to the highest degree. The speed, sureness and perfection of the double stopping, the flageolet playing, the lyricism of the expressive sections; in short, all that was heard revealed a virtuoso of the highest rank. The acclaim forthcoming [from the audience] after each brilliant section was enthusiastic. Mr Graf, too, was complimented for his very brilliant performance of the „Cascade“ by E. Paur, and a „Saltarella“ he himself composed. Mr Lukes a concert-performer of songs who has long been known to be excellent, worthily supported the concert givers. He sang Tomaschek’s [Tomášek] „In die Ferne“, then a Bohemian song by Laub and Esser’s „Abschied“, which following repeated requests had to be encored. Although the attendance was not slight, it should be more numerous at the next concert soirée of the two artists, since it is to be assumed that our music-loving public will not forgo such a pleasure.’

Tagesbote aus Böhmen 13/3/1857 published a review, signed ‘-h.’, of this concert. The correspondent remarked how ‘Judging by its success, yesterday’s concert given by violin virtuoso Ferdinand Laub and pianist Wilhelm Graf, was as lively and animated as any of those of the previous season. Laub’s superb artistry, his tone, which in a certain way defies description, the elasticity of which affords his performances the most liquid softness but without effeminacy, the most decisive power yet without harshness, together with his fineness of interpretation, again brought him triumph. All the aspects of his technique, including in such highly challenging passages as the rapid scales in the second movement of Beethoven’s C minor sonata (Op.30 no.3) and the extravagant display of difficulties in Ernst’s fantasia on Othello, had an ease... that Laub can accomplish so fascinatingly, yet also with an unquestionable purity. Even brittle pizzicato effects seem easy under his fingers. Beethoven’s Sonata made a generally successful impression thanks both to a good, congruent interpretation, and to the considerable artistry of both performers. Mr Graf successfully performed the piano part too, which although not dazzling by modern standards is nevertheless very difficult, with solidity, good taste and secure technique. The A-flat major movement in particular, with its beautiful melodies and striking variation and ensemble effects in both instruments, and the scherzo with its humorous canonic motif, were truly brilliant in performance, both in presentation and in precision. Like Laub with the Othello Fantasie, in the two salon pieces [given by] Graf, [the pianist] proved himself in the lighter style of the time to be mature and elegant; he played Pauer’s charming Cascade with its expressively elevated, delicately worked melodies, and Saltarella, which has now become something of a signature piece for its effects. For the finale the two artists joined together in a Vieuxtemps-Wolff duet on Don Juan motives, and although the piano part has a mainly ripieno and paraphrasing function, Laub still made the most  [of the piece] as an effective stage for all sides of his artistry: in tone, feeling, virtuosity and variety of nuance.

The vocal offerings [given] by Mr Lukes very well suited the solid demeanour of the concert as a whole, and were not shorter on applause than any of the other performances. This fine singer earns hearty thanks, especially for the choice of Tomaschek’s [Tomášek] superb song In die Ferne, whose loveliness and whose great fire... would rank alongside the greatest names among Lieder composers, such as Schubert. In addition Mr Lukes sang a Bohemian song, Holubice, by Laub, the celebrated performer in the same concert (number three of the three songs recently published by Christoph und Kuhe, which we then labelled as sentimental and folkish), and Abschied by Esser, a modern stropic song to which this sensitive singer was able to bring so many different effects that an encore was called for. It is only possible that the high level of satisfaction expressed by the public yesterday, and the knowledge that Messrs Laub and Graf’s future concerts will certainly continue to be of the same stature, will combine to ensure a large audience turnout.’

A review of this concert was published by Lumír 19/3/1857. The critic remarked that the ‘First concert of Messrs Laub and Graf appeared, as we expected, to show the splendid progress Laub makes... to acquire still greater perfection of his exquisite tone; certainly there is no-one among contemporary violinists with who Ferdinad Laub could not victoriously compete. Most of all, it seems to us that Laub’s artistic temperament is the same as that of the celebrated Ole Bull. And what is especially noteworthy of Laub is the sincere Czech musical spirit in his fingers. In Mr Vilém Graf, Laub has found a strong collaborator. This auspicious piano virtuoso, Praguer and pupil of Tomášek, who up to now from excessive modesty has rarely appeared in public in his home town... is a skilled, passionate artist, solid and with deep feeling, yes he performs with poetic conviction, and this distinguishes him as a composer too... A notable addition [to the concert] was the singing of Mr Lukes, who achieved the greatest effect with the Czech song Holubice by Laub and with Tomášek’s masterly composition In die Ferne.’