• GRÜN, Jakob M.: soloist, vl
• ROSÉE, Therese, Countess de la: soloist, zither

News of this second concert being given by the violinist Mr J.M. Grün from Pest was published by Mercy’s Anzeiger 10/1/1857. The source noted too the date, time and venue of the concert, the participants and the programme in projected performance order. The text ended with the remark that ‘The positive reputation that Miss Therese Countess de la Rosée enjoys as a zither player, suggests that this concert will be very successful.’

Tagesbote für Böhmen 10/1/1857 also related news of this concert, noting: ‘The violinist Mr Grün from Pest, arranges tomorrow Sunday 11th his second noon concert in the Konvikt Hall. This concert will be particularly appealing owing to the kind participation of the young Comtesse Therese de la Rosée, who we have already heard in Lieder singing as well as in zither playing. The sisters la Rosée, of whom it is known devoted themselves to the stage in an impulse of artistic enthusiasm, have already proved themselves in several places in Germany to be graceful and talented singers. Of the zither playing of the Countess Therese, distinguished private circles of our city have already had the opportunity to assess, and musical authorities offer the warmest enthusiasm of the delicacy and feeling with which the young virtuoso treats her idyllic instrument. – The Concert-giver himself will perform a Mendelssohn Violin Concerto, two movements from the Concerto in E by Vieuxtemps and the „Teufelssonate“ by Tartini.’   

A review, signed ‘z.’, was by Mercy’s Anzeiger 12/1/1857, describing the concert as being successful and praising each of the performers, but noting that the event did not enjoy a particularly large attendance. ‘Yesterday the violinist Herr Grün from Pest gave his second concert at the Konvikt Hall. He was applauded for his playing of Mendelssohn’s concert and the ‘Teufelssonate’ by Tartini... as well as the Andante and the Finale from Vieuxtemps’s first concerto. The positive attributes of his playing, which are mainly technical in character, we have recently mentioned and appreciated. It is only to be noted here that the inaccurate, not together [i.e. not in time with soloist] piano accompaniment for the... [Mendelssohn] concerto was disturbing. Interesting contributions to the concert were the solo performances by Miss Therese Gräfin de la Rosée. She first gave two modern songs by Gumbert and Kücken and then two pieces for zither, which so appealed to the audience that a third one was demanded.’ The critic briefly but positively commented upon her mezzo-soprano voice and then highlighted her excellent playing on the zither. Concluding, the review noted that the pianist Löwe received applause for the two salon pieces he played fluently, and that the concert was not overly well-attended.

Tagesbote aus Böhmen 13/1/1857 also published a review, signed ‘-h.’ The correspondent related that ‘In the second concert given by the violinist Mr Grün (Sunday lunchtime, Konvikt Hall), all attention was captured by the appearance of the young Countess Therese la Rosée. We were introduced to the charming lady as both a singer of Lieder and as a virtuoso on the zither, and would say without hesitation that her greater artistic accomplishment lies in the latter discipline. Her confident mastery of this most difficult instrument of its kind, her most intricate knowledge - while avoiding all contrived refinements - of the tenderest and also the most brilliant effects, and a calmness and simplicity of execution that with true poetry captured the character of this beautiful instrument made the Countess’s performance a rare artistic treat. She played two pieces, one of them in fantasia form and with a mainly ‘ihrisch’ [Irish folk?] tone, and a lively paraphrase of one of those short, piquant [folk]song strophes in the style often heard in upland regions. The latter in particular, with its wealth of finely combined details, executed with the greatest grace and purity, was such a sensation that the young virtuoso performed an encore. A man, with stronger fingers, could add little more than perhaps to produce a stronger elasticity of tone than did this gentle lady virtuoso. As a Lieder singer Countess la Rosée performed Gumbert’s Thräne and Küchen’s Sternlein. Here again was evidence of finesse, depth of feeling and elegant treatment of every nuance; her pleasant voice, though small, appeals. It would be interesting to test whether all this, together with the Countess’s exceptional elegance, would have a similarly impressive effect on the stage; this might also serve to re-animate, in some measure, our opera repertoire that is now struggling to resist the sleep of death. As for the presenter of the concert himself, there remains [for us] only to repeat the praise expressed earlier in recognition of his considerable skill and calm composure that not infrequently ran into an uneasy coolness. But this time, again, the choice of pieces was not well suited either to his still very youthful potency or to the unassuming character of a matinée with piano accompaniment. Mr Grün rendered Mendelssohn’s E-minor Concertstück [the Concerto in E minor], whose beauty rivals that of the Piano Concerto in G minor, omitting the middle section and disfiguring it almost beyond conscience. He performed Vieuxtemps’ Andante in A and Rondo in E with brilliance and a full tone, as also the Trilles du Diable (not Tartini’s famous Teufelsonate but a bizarre improvisation on a Tartini motif in G minor), in which he showed great bravura. Mr Josef Löw gave fine and polished performances of two bagatelles for piano, by Goria and Bacher. The accompanist announced in the programme was Mr Preisinger, but the experienced fluency of the latter was lost in an unfortunate swap: the unknown accompanist [who appeared in his place] demonstrated a lack of preparation in the basic technical mastery of his part, far more so in the finer artistic details of accompaniment, and not infrequently proved a hindrance to the soloists - in particular in the case of Mr Grün in the Vieuxtemps concerto.’

The Czech periodical Lumír did not publish either news or a review of this event. However, an article describing the Lent concert season of 1857 that was published in the issue of Lumír 12/3/1857 was highly critical of La Rosée for a concert given by her that opened the Lent concert season. However, this was not the concert of Grün in which Rosée participated. The ‘young countess... [displayed] mere dilettantism’.