• Žofín Academy: participating institution, vv

Tagesbote aus Böhmen 2/12/1857 reported that ‘The members of the Sophienakademie [Žofín Academy] are arranging a concert on Tuesday 8th December 1857 at 12 noon in the Hall of the Žofín Island, at which the folloing programme will be performed. Part 1: The 23rd Psalm „Der Herr ist mein Hirte“ for C solo and choir by Bellermann. 2. „Des Sängers Parole“ – American prize-winning song for 4 male voices by Hermann A. Wollenhaupt. 3. Piano performance by Mr Jos. Löw a) Mauresque by W. Veit, b) La cascade by Pauer. 4. „Sonnenschein“ chorus for mixed voices by Louis Spohr. Part II. 5. „Loquebantur“ motet by Palestrina. 6. „Du bist mein Traum“, male voice chorus by Herman Langer. 7. Introduction and 1st movement from the Grand Sonata in C minor by J. Wölfl. Piano played by Mr Jos. Löw. 8. „Cum Sancto spiritu“ fugue for 2 choruses by Jos. Sarti.’

Further news of this event appeared in Tagesbote aus Böhmen 7/12/1857. The source reported: ‘Tomorrow, Tuesday at 12 noon takes place in the Hall of the Žofín Island tha vocal concert performed by the members of the Žofín Academy, and which promises to be an interesting programme. In the first part of the concert will be perforned: The 22nd [23rd] Psalm „Der Herr ist mein Hirte“ by Kellermann [Bellermann]; „Des Sängers Parole“ American prize-winning song by H. Wollenhaupt; a piano performance by H. Löw. Sonnenschein Chorus by Louis Spohr. The second part contains: „Loquebantur“ Motette by Palestrina; „Du bist mein Traum“ by H. Langer; Introduction and 1st movement from the Grand Sonata in C minor by J. Wölfl, performed by H. Löw, and ending with Cum Sancto spiritu, great fugue for 2 choruses by Joh. Sarti.’

‘Sarti’ was most probably the Italian composer Guiseppe Sarti (1729-1802), whose published works included a fugue Cum Sancto spiritu for eight voices.

A review, signed ‘-h.’, of this concert was published by Tagesbote aus Böhmen 9/12/1857. The correspondent reported: ‘The Sofien–Akademie [Žofín Academy] yesterday gave its first concert. The best performances were of the three numbers in strict style, above all in the very beautiful, solemn motet in F major (Loquebantur) by Palestrina. The same style is very worthily displayed by the 23rd Psalm by Bellermann,  six-part chorus with soli, very interesting in terms of its genuinely old-Italienate  spirit, its strict but not harsh, usually purely diatonic harmony, and in the clarity of the working. Equally as correct and precise in performance as these two numbers was a great double fugue (two mixed-voice choirs) by Sarti, only the adoption of a piano instead of organ varying the originally calculated effect. The extensive and unusually compelling women’s choir of the Society participating in these three numbers was particularly appealing in effect, and the mixed–voice choir showed the true strength of the Society; the men’s chorus stood well behind the aforementioned. In particular, the choice of Wollenhaupt’s male-voice chorus „Des Sängers Parole“ (whose designation as „Preislied“ was only made explicable by the addition of „American“, the slogan for bad musical taste), was an awful misunderstanding. In the rehearsals it had already become quite clear that the tenors of the Academy, who in individual voices were quite appealing but not consistent, would find it impossible to maintain the high vocal lines of the choruses. This resulted in the inevitable; the upper voices sank, in spite of all of the uncomfortable efforts of the singers, so consequently the basses were driven down to an unfathomable depth and the whole chorus failed. The second chorus for male voices, „Du bist mein Traum“ by Langer, the pitch held more firm, whereas in the mixed-voice chorus „Sonnenschein“ by Spohr the sopranos were guilty of sinking. In both last-mentioned numbers there were rhythmic fluctuations. The interpolated piano numbers of Mr Löw, appropriately performed but not extending far beyond the level of the accomplished amateur, did not help, but brought to the concert a curious inconsistency.’