• GOLDSCHMIDT, Otto: soloist, pf
• LIND, Johanna Maria: soloist, v
• GOLTERMANN, Julius: soloist, vc

The German-language Prague newspaper Tagesbote aus Böhmen first published on 31/1/1858 news of this second Prague concert to be given by Jennz Lind. The source reported: ‘The second Concert of Mrs Lind-Goldschmidt takes place tomorrow, Monday, at 12 noon. The celebrated concert-giver sings Agathe’s prayer from the last act of „Freischütz“; an aria from Bellini’s „Beatrice di Tenda“, a Mazurka by Chopin arranged as a song, then Lieder by Mendelssohn, Schumann, and a „Norwegian Echo-Song [Norwegisches Echo-Lied]“. The circle of artists supporting the singer is this time a wider one; besides her husband, Mr Goldschmidt, who performs Mendelssohn's popular G minor Concerto for piano, will appear the Royal Saxon Court chamber musician the flutist Fürstenau and Professor Goltermann. A new Overture by Kapellmeister Neswadba [Nesvadba] opens the concert.’

A detailed advertisement, outlining the programme, for this event was published by Tagesbote aus Böhmen 31/1/1858. The source noted: ‘Second and last Concert Monday 1st February 1858 12 noon in the Žofín Island Hall [Sophieninsel Saale] by Mrs Jenny Goldschmidt née Lind, Royal Chamber Singer, with the participation of Messrs Otto Goldschmidt, Julius Goltermann and Moriz Fürstenau, and graced with the direction of Kapellmeister Mr Neswadba [Nesvadba]. Programm. 1. Ouverture by Jos. Neswadba, 2. Prayer from the opera Freischütz, sung by Mrs Jenny Goldschmidt. 3. Adagio from the D major Concerto for violoncello by B. Molique, performed by Professor Julius Goltermann. 4. Aria from Beatrice di Tenda („Ma la sola“) by V. Bellini, sung by Mrs Jenny Goldschmidt. 5. Concerto (G minor) for pianoforte by F. Mendelssohn-Bartholdy, performed by Mr O. Goldschmidt. 6. Recueil de Mazurka (4 Mazurkas) by F. Chopin, arranged for voice with an Italian text and obbligato pianoforte by O. Goldschmidt, sung by Mrs Jenny Goldschmidt. 7. Introduction and Variations on a theme from Norma by Bellini, for the flute by A. Fürstenau, performed by Moriz Fürstenau, Royal Chamber Musician. 8. Lieder, sung by Mrs Jenny Goldschmidt. a) „Die Sterne schau'n in stiller Nacht“ by F. Mendelssohn-Bartholdy. b) „Frühlingsfahrt“ by R. Schumann. c) „Norwegisches Echolied“.’ This advertisement was published again on the day of the concert by Tagesbote aus Böhmen 1/2/1858.

A detailed review of this concert, signed -h. appeared in Tagesbote aus Böhmen 2/2/1858. The correspondent reported: ‘The second Concert of Mrs Jenny Lind-Goldschmidt inspired the sympathies of the entire audience just as vividly as did the first. The other day [i.e. in the first concert], when the mere anticiaption of a unique and delightful artistic pleasure had filled the hall, yesterday it was still more palpably manifest. The outermost numbers of yesterday’s programme marked aptly the wonderful extent of the compass of artistry which the artiste masters so impeccably and effortlessly. Of the indescribably poetic and, we may say, chaste - approaching the realms of Classical - manner of performance with which Mrs Lind sings the A-flat major Cavatine of Agathe from Freischütz, to the bold, almost idiosyncratic reading of the Norwegian Echo-lied, right up to the borderlines of beauty but never overstepping is possible only for a genius. A technical detail in the aforementioned Cavatine, the necessity and intention of which alone in the splendid performance of the artiste remained unclear to us, was the instance of the twice-recurring A-flat scale by a breath (not taking a breath would make its meaning more comprehensible). As a equally exemplary counterpart to the truly Germanic artwork of the Cavatine, Mrs Lind turned to the great from Bellini’s Beatrice di Tenda. The wonderful power of the artiste - yesterday sounding far fresher than the other day - the crystal-clear precision of her intonation in long cadenzas without accompaniment, to the reinvigoration of the ethereal style of performance breaking away from and confronting opponents of New Italianism in the most lofty spiritual and technical beauty. The third number of the concert was an arrangment of a Chopin Mazurka melody for voice with obbligato piano. The said arrangement contains 4 characteristic pieces which, with the exception of the last, are naturally lyrical; they combine very smoothly the voice with the Italian text. The predoninantly elegaic character is effectively interrupted by a fiery intermezzo, but at the end gives space for sound of Lind’s magical fading away of the voice. Of the three songs that closed Mrs Lind’s program, Mendelssohn’s beautiful song of the child at the bed of the sick mother („die Sterne schaum“), is most agreeably complementary with the charming, magically captivating character of the poet and singer Lind. Schumann’s „Frühlingsfahrt“, its Spring-sound and Spring-like air reproduced the voice with all freshness and gracefulness, was executed almost dramatically by Mrs Lind with accompanying gestures. The aforementioned Echolied is an inimitable, but not imitative play upon moods with virtuoso sophistication. The echo effect, in which the forte dissolves into a pianissimo, and in the last instance from the still sounding tone, are wonderful instances of vocal artistry. Fortunately, the echo is tasteful enough to repeat only in the pretty refrain and not in the terribly excessive sevenths at the beginning of this primitive [urwilchsigen] song. Mr Goldschmidt favourably matured yesterday in Mendelssohn’s G minor Concerto to the tasteful, fluent and solid school of players. Worthy success with this G minor Concerto is made doubly difficult in Prague, where Dreyschock's imposing mastery of the orchestra, unfailing boldness and iron endurance have made the work the favourite of every connoisseur of music. Of great local interest was the new Ouverture by Kapellmeister Neswadab [Nesvadba]. The style of this work belongs to the "Central German" [mitteldeutschen] school of Marschner, Lindpaintner et al., manifest in the strictly regular form of the Allegro, but demonstrates too in the powerful development of the Adagio theme of broad, noble character, the touch of the current of Wagners musical "Young Germany" [Jungdeutschland]. The form of the first part [i.e. the Adagio) is very detailed, grouping a number of pretty instrumental solos about the main theme; on the other hand the Allegro is concise and firm, the wind theme is a charming melody, first assigned to the woodwind, then to the brass, and finally in the middle of the texture between lively string figurations, what follows fits very well with a broad development and the distribution of the theme between varying instrumental groups. The overall impression of the Ouverture, which with the exacting demands places on the strings in particular, was performed very well under the direction of the composer, is from the richness of the melody, proficient form and colourful orchestration, decidedly favourable. Professor Goltermann played the beautiful F major Agaio from Molique’s D minor Concerto for Violoncello and, instead of the the piece by the flautist Fürstenau who had departed suddenly for Dresden, the well-known Lucia-Fantasie from his somewhat narrow repertoire. The mood of the audience remained splendidly animated until the very last note of the celebrated artist Mrs Lind, despite the hour-and-a-half [dritthalbstündigen] delay of the matinee, and despite the suffocating atmosphere of the hall from the heated and crowded ball of the previous evening.’