• GOLTERMANN, Julius: soloist, vc
• LUKES, Jan Ludevít: soloist, v
• Estates Theatre orchestra: participating orchestra
• ŠKROUP, František Jan: director of ensemble, conductor
• Cecilia Society: participating institution, male vv

Mercy’s Anzeiger 11/3/1857 published advance information, signed ‘-r’, that Professor J. Goltermann will arrange a concert in the Konvikt Hall on 29th March. No further details were given by this source. In the issue of this newpaper dated 29/3/1857 the date, time, venue, programme and participants of this event were published in the section of Daily News.

In the course of a brief report listing concerts taking place in Prague during the oncoming week, Tagesbote aus Böhmen 27/3/1857 noted that a ‘music production’ was to be given by Professor Goltermann. A review, signed ‘Z.’, was then published in Tagesbote aus Böhmen 30/3/1857. The correspondent reported that: ‘Once again the concert given by the Conservatory professor and cello virtuoso Mr Goltermann did not fail to work its powers of attraction, and the Konvikt Hall yesterday rewarded the eye with a very large audience. On this occasion the presence of the [Estates] Theatre orchestra, conducted by Mr F. Skraup [František Škroup] further lifted the interest of the concert, and its performance of Beethoven’s magnificent Egmont overture was truly a most honourable opening. [However,] a performance of Schumann’s A minor [cello] Concerto should really be an act of piety; in most of its parts the work is neither appealing for the listener nor rewarding for the soloist. Its chief advantage is its complete freedom from the stereotypes of other similar concertos; also, having no introduction or linking tutti passages, etc, by the orchestra, the solo instrument enters into an organic, constant rapport with the accompanying ensemble from the very beginning. One might say, however, that the first and third movements never succeed in wrestling forth a satisfactory resolution from the harmonic, or perhaps rather disharmonic struggles, or clear, finished ideas from its hurried attempts. The whole unfortunate nature of Schumann, felicitously described by Hoplit as „striving for the heavens yet bound like Prometheus“, is to be found in this concerto. Such a „striving for the heavens“, in which Prometheus is close to bursting out of his bonds, occurs in the magnificent melody of the middle movement in F major. The excellent Goltermann played the concertante cello part with just such a calm, consummate mastery that never contrived showy outward effects, yet [completely conquered] the difficulties, which called for the highest technical demands, as also dovetailing most finely with respect to the orchestra.

Of the two smaller pieces by Mr von Savenau that the soloist played with piano accompaniment, the first is gentle and melodic, composed with many effects, while the second, a very lively piece, is very difficult to categorize into any standard genre; it gives at the same time the impression of being a principal theme torn out of a larger cello concerto. To end [the concert], Goltermann’s tone and virtuosity shone with the same brilliance in Servais Erinnerung an Petersburg [Souvenier de St. Petersbourg] with its richness of effects. Mr Lukes took over the vocal pieces, and excelled particularly in a Lied with hummed accompaniment (supplied by the men’s choir of the Cäcilienakademie [probably the Žofín Academy rather than the amateurs of the Cecilia Society - also perhaps the founding men’s chorus of the private choir of Lukes]), such that a complete repeat of the song was demanded. The pretty, fresh composition is particularly noteworthy because its opening bars are built exactly on Wagner’s Greeting to the Swan from Lohengrin. Neither for this nor for the other two songs that Mr Lukes sang did the programme give the name of the composer. It seems that our concert singers wants to introduce a new genre of Lieder; they often bring - as a substitute for one or another Song without Words - something like a Song without Composer, or at least without mention of one. The two Lieder sung by Herr Lukes were carefully declaimed rather than deeply felt; the form tended, incidentally, towards Schumann; the piano is however quite out of proportion to the mignon format of these little songs and completely drowns out the singer. Naturally, for the soloist the concert was the greatest success, in keeping with his level of performance.’

Mercy’s Anzeiger 30/3/1857 also published a review, signed ‘Z.’, of the event. The correspondent reported: ‘The concert of Professor Julius Goltermann, which took place in the Konvikt Hall yesterday was, as usual, and nothing less was to be expected from the artistic standing of the concert-giver, a brilliant success. The artist first performed the A minor Concerto for ’cello, op.129, by R. Schumann with the accompaniment of orchestra. This work belongs to the final active period of the famous composer. It contains three independent, self-contained yet connected movements that are complete in form and place the orchestra in an obbligato way. Herein is shown Schumann’s own ingenious flight of musical ideas and their artful treatment, as in no lesser degree the characteristic dreamy trait particular to his later life. In the technically difficult solo-part there is a striving for the extraordinary; in the orchestration a peculiar preference for lugubrious colour is noticeable. Thus it is explicable why the composition despite its accomplished performance could not leave a particularly rousing impression on the audience, but that the connoisseur was pleased about this choice [of work]. In addition, the concert-giver played two smaller solo pieces: Andante espressivo and Allegro appassionato by C. M. Count von Savenau. The youthful and talented composer surprised us very pleasantly with this novelty. Considering the limited choice of existing works in this genre the composition not only constitutes a welcome enrichment but in general has a pronounced inner worth as a work of art. Not so much conveying technique (although technically no easy task), it prefers to accentuate soul and expression; the only two elements of perfomance that are pertinent to this composition’s noble cantilenas. The texture is worked in an ingenious manner; the interesting an interplay between the solo part and the piano makes a witty character piece. To end the concert Professor Goltermann demonstrated all the brilliant merits of a ’cello virtuoso of the first rank with a flawless performance of the Fantasie Souvenier de St. Petersbourg. His amazing technique, his ravishingly melting playing of delicate solemn passages evoked still further enthusiastic approbation. As intermediate numbers Mr Lukes first sang two songs from Count von Savenau’s newest cycle of six songs. With its very noble and poetic cantilena this noble composition, which is however a little low for a tenor, demonstrated very favourably the musical talents of its assiduous and skilled author. In addition we heard a tenor solo Nächtlicher Gruß with the accompaniment of humming voices (male quartet) by A. Storch, which had to be repeated. Mr Lukes gained rapturous applause for his artistic performances, both for the last mentioned piece that was given with the utmost effect and following the two [earlier] songs. This numerously attended concert commenced with Beethoven’s Overture to Egmont which was performed precisely by the orchestra of the [Estates] Theatre under the direction of Kapellmeister Skraup [Škroup].’