Language Selection
Event title:
Second annual Cecilia Society concert
Venue: Žofín Island (Žofín Hall)
Event type: Art music culture
Date: 17/01/1857 4.30pm
Season: Carnival
Benefactor:
Cecilia Society
Programme comprising, part 1:
- Cecilia Society: participating institution, vv, orch
- APT, Antonín: director of institute, conductor
• Chaloupka, ? : v Güntherová, Adelina : v Lukes, Jan Ludevít : v
Part 2:
• Chaloupka, ? : v [Sidonie and Armida] Güntherová, Adelina : v [Irene] Strakatý, Karel : v [the Knight]
• Chaloupka, ? : v Güntherová, Adelina : v Lukes, Jan Ludevít : v Strakatý, Karel : v
Commentary:
Tagesbote aus Böhmen 11/1/1857 reported that ‘The 2nd Concert of the Cecilia Society will take place during the course of this week.’ In the issue of this newspaper published on 14/1/1857 the report appeared: ‘The programme of the 2nd Concert of the Cäcilien Society [Cäcilien-Vereins], which takes place Saturday 17th January at 4.30pm in the Hall of Žofín Island, contains the following numbers: Part I. 1. Overture to „Ruy Blas“, by Felix Mendelssohn-Bartholdy. 2. Psalm 95 for soli, chorus and orchestra by Felix Mendelssohn-Bartholdy (for the first time [in Prague]). Part II. 1 Overture and Finale from the opera: „Armida“ by Christoph Ritter von Gluck. 2. Finale from the opera „Rienzi“ (Hommage to the Tribune Rienzi) by Richard Wagner (for the first time [in Prague]). The solo parts have with particular favour been taken by Miss Chaloupka, Miss Günther, as well as Messrs Lukes and Strakatý.’
Advance news of this concert, specifying its date, time, venue, programme in performance order and the participating soloists, was also published by Mercy’s Anzeiger 14/01/1857. The Finale from Rienzi, described as ‘Hommage for Rienzi as Tribune’, was thus clearly identified as being from act 1. The work was being given [in Prague] ‘for the first time’. An advertisement for the concert appeared in both Mercy’s Anzeiger 16/1/1857 and 17/1/1857 announcing:
of the
Cecilia Society [Cäcilien-Verein]
Saturday 17th January at 4.30pm in the
Žofín - Island - Hall.’
Tagesbote fur Böhmen 18/1/1857 published a review of this concert. The correspondent, signed ‘-h.’ wrote that ‘The second of the Cäcilienverein’s concerts contained four substantial works that rivalled one another for worth and interest. The prize for brilliance of outward effect went to an excerpt from Rienzi: the Morgengesang sung in the Lateran [Palace] in homage to the Tribune. It is most interesting to observe how in Wagner’s first fruits all the elements of his particular genius can already be found; yet they are still frustrated by the old form, are not yet clear and without the masterful economy of the great reformer’s late works. Two of the brilliant, dynamic, upward-spiralling motifs were heard: the section with the wonderfully powerful chromatic ascent by the soprano from top G to B natural, and the final paean, already introduced in the overture. Between the two is an aria for Rienzi of immense majesty, here performed excellently by Mr Lukes, lucidly and with the requisite degree of expressive weight. The excerpt begins with a march motif whose stirring, noble melody and original form already gives a clear view of the change of direction that Wagner would later make. Then follows a section for organ and offstage choir (in the Lateran), relatively the weakest part of the performed excerpt, and the impact of which was further weakened by the defective state of the positive organ that wheezed like an asthmatic for air. Overall... the performance was good; Mrs Chaloupka [Chaloupková] deserves special mention for her ample and tireless sustaining of her part through the colossally orchestrated finale, as does Miss Günther [Güntherová], whose part (Adriano Colonna [Adriano]) mostly doubles the soprano in unison, and also the competent boy’s choir. The colossal scale of the Rienzi excerpt, exploiting every orchestral resource available in our time, tended to overshadow the piece that preceded it - the modestly-scored first finale from Gluck’s Armide. Yet the firm, classically pure casting of the chorus stands its ground, as does the authentically dramatic pathos and passionate animation of the final section, whose strong, rolling vocal passages contain, in the most surprising manner, the seed for Mozart’s famous first finale to Don Juan... The solo roles were given by Miss Chaloupka (Sidonie and Armida), Miss Günther (Irene) and Mr Strakatý (the Knight). The second number of the programme was the 95th Psalm in Mendelssohn’s setting: a pearl of the purest, highest oratorio style. Of the five numbers making up this work, the first, an antiphon between the tenor soloist and the choir, impresses at once with its largeness and dignity; the second, the choir’s “Tretet herzu”, has a wonderfully animated motion in 6/8 time whose masterful counterpoint never loses freshness. No.3 is a beautiful female duet (soprano and alto, A flat major) in the deep elegiac atmosphere of the Jerusalem aria from Paulus. The remainder of the work has a chiefly dramatic colour and features great wealth in its orchestration. Mr Lukes as the tenor soloist, and Miss Chaloupka [Chaloupková] and Günther [Güntherová] in the duet, were very good. This most interesting concert, which began with Mendelssohn’s overture to Ruy Blas, was as usual well-attended, and concluded with a well-earned curtain call for the conductor Mr Apt.’
A review, signed ‘z’, of this concert was also published by Mercy’s Anzeiger 19/1/1857. The correspondent reported ‘In its familiar, highly admirable way the Cäcilienverein [Cecilia Society] in its second concert, given two days ago in the Žofín Hall, performed works of particular interest. Mendelssohn’s overture to Ruy Blas was played with precision by the massive orchestral forces, and here formed the first piece of the concert. Next came the same composer’s setting of Psalm 95 for soloists, chorus and orchestra, one of the solemnest of compositions in church style, each of whose individual sections, through the sublime diction and genius of combination of vocal and instrumental forces, is worked to powerful effect. It was all the more timely that we should hear this remarkable work, which was performed by the Society in one of its earlier concerts with only piano accompaniment, again now, as one could hardly have found a more suitable soloist for the all-important tenor part than Mr Lukes, who left [Prague] at Easter last year. In not only the Arioso of the first movement with its spirit of purest devotion, but also the dramatic concluding section he gave a sonorous, highly artistic performance, for which he received the most honourable recognition. With their fine and sensitive singing Miss Chaloupka [Chaloupková] and Miss Günther [Güntherová] likewise realised the exultant duet in A flat to powerful effect. The ensembles are generously endowed throughout, as in the imitative second movement „Kommet herzu“, the magnificent canon that ensues and the fugue, based on a highly original motif, that follows the duet mentioned above. The second half [of the concert] consisted of music from opera, and it was an interesting selection. The overture and excerpt from the finale of Gluck’s Armide allowed us to recognise in the genius for conception, in spite of modest resources, this singular master as the original founder of musical drama. In unique contrast was the snippet compiled by Wagner himself from his first opera Rienzi, for performance at the famed Zurich concert, including a scene from the fourth act and the triumphal march from the third, entitled Rienzi’s Homage to the Tribune. This excerpt, with its extravagant array of all kinds of sound, gives an early insight into the specific impetus of this composer while also revealing his compositional method, not yet liberated from the observances prevalent at the time. A ceremonial march opens the scene, which begins with a chorus of the assembled citizens in front of the Lateran extolling the moment of homage. The scene is interrupted by sounds of the organ and singing from within the church. The crowd now greets the approaching tribune accompanied by the Goths, that has been summoned by the citizens of Rome to preserve the alliance, ensure observance of the law and to take an oath. This greeting is followed by a general acclamation and the oath-taking ceremony. Again the tenor role was executed with both power and beauty by Mr Lukes; again the female soloists named above performed with Mr Strakatý to admirable effect in both operatic excerpts. All of the ensembles fulfilled their tasks worthily and the Society’s director Mr Apt conducted the entire [concert] with tireless zeal and discretion, well earning the curtain calls at the end. Attendance was very high. ’
Summary of sources:
Tagesbote aus Böhmen (11/01/1857)Tagesbote aus Böhmen (14/01/1857)
Mercy's Anzeiger für Böhmen (14/01/1857)
Mercy's Anzeiger für Böhmen (16/01/1857)
Mercy's Anzeiger für Böhmen (17/01/1857)
Tagesbote aus Böhmen (18/01/1857)
Mercy's Anzeiger für Böhmen (19/01/1857)