Venue: Žofín Island (Žofín Hall)
Event type: Art music culture
Date: 16/03/1857 4.30pm
Season: Lent
Benefactor:
Cecilia Society
The German-language Prague newspaper Tagesbote aus Böhmen 8/3/1857 published advance news of this concert, noting: ‘In the 3rd concert of the Cecilian Society, which takes place in the course of this week, is to be performed Beethoven’s Oratorio „Christus am Oelberge“.’ On 13/3/1857 Tagesbote aus Böhmen reported: ‘For the 3rd Concert of the Cecilian Society [Cäcilien-Vereins], which takes place on Monday 16th March 1857 at 4.30pm in the Hall of Žofín Island, is the following programme designed: 1st part: 1. Overture to Iphienia in Aulis by Christoph Prince v. Gluck with the conclusion by Richard Wagner. 2. Gesang der Nonnen und der Heloise am Grabe Abelards [Song of the Nuns and of Heloise at the Grave of Abelard], for alto solo, women’s chorus and orchestra, composed by Ferdinand Hiller (manuscript). 3. Hymn for alto solo, chorus and orchestra by Felix Mendelssohn Bartholdy. 2nd part: Christus am Oelberge, Oratorium by Ludwig van Beethoven.’ Tagesbote aus Böhmen 15/3/1857 reported that ‘for the 3rd Concert of the Cecilian Society, Miss Brenner [Brennerová] and Miss Günther, as well as Messrs Strakatý and Lukes, have pledged their names as soloists.’
Mercy’s Anzeiger 13/3/1857 reported the date, time and venue for this ‘3rd Concert of the Cecilia Society [das 3. Concert des Cäcilienvereins].’ The programme was listed numerically in performance order, together with the participating soloists. Hiller’s work was noted to be being given from manuscript. On 14/3/1857 the newspaper related that the solo parts in Beethoven’s Christus am Oelberge and in the vocal compositions by Hiller and Mendelssohn where to be sung by Misses Brenner [Brennerová] and Günther [Güntherová] and by Messrs Lukes and Strakatý. On 16/3/1857 the newspaper reported that owing to a ‘sudden indisposition the solo part to have been sung by Lukes in the performance of the oratorio was kindly being taken by Mr Reichl.’
Mercy’s Anzeiger 18/3/1857 published a detailed review, signed ‘-Z-’, of this concert, reporting that ‘The day before yesterday the third Concert of the Cecilia Society [Cäcilienverein] took place. As usual it had a very interesting program that was once again manifest in the laudable intention of performing interesting pieces. Unfortunately an unlucky star hung over the second part [of the concert], which comprised Beethoven’s oratorio Christus am Oelberge, as the only singer schooled in classical performance, Mr Lukes, had become hoarse. Mr Reichel, who, out of particular goodwill, took over his part of Christ shortly beforehand, had to perform without any rehearsal. He could not therefore adequately perform the part and hence disturbances occurred during the performance that could have scarcely been prevented by a totally experienced conductor, even with the best-trained ensemble. The work certainly contains, particularly in the choruses, ingenious details. Nevertheless, it leans upon well-known models of other noteworthy works and deviates in part deviates from the style of the oratorio, especially in the solo numbers. Miss Brenner and Mr Strakaty also took part readily, but the former struggled under the prevailing circumstances, notwithstanding her excellent technique. The first part [of the concert] began with the overture to Iphingenia in Aulis in the new edition of Richard Wagner to which he himself added then ending. It does full justice to the style [of the work] and is created out of the melodic motifs of the overture. According to Wagner’s intention one tempo should have been kept throughout. This was followed by an interesting novelty: Gesang der Nonnen und der Heloise am Grabe Abelards for alto solo, female choir and orchestra by J. Hiller. This is a peculiar piece by the composer who became praiseworthily known through his oratorio Die Zerstörung Jerusalems. From this performance it should belong mainly to the genre that might be roughly described as „secular oratorio“; and yet it touches, partly through the strict counterpoint, partly through many formal characteristics (which includes the Latin text), the products of a sacred orientation. This part [of the concert] concluded with Mendelssohn’s wonderful hymn for alto voice, choir and orchestra, a composition originally realised as a series of ecclesiastic songs with choir and organ accompaniment. Miss Günther sang the solo part of these two numbers with dedication and artistry. A very numerous audience was present.’
A review, signed ‘-h.’, was also published by Der Tagesbote 17/3/1857. The correspondent reported that: ‘Yesterday’s concert by the Cäcilienverein opened with Gluck’s Iphigenia overture in the arrangement for larger forces and the ending by Richard Wagner. In choosing the tempo for the main theme, however, Mr Apt did not keep to Wagner’s idea of applying the slow tempo of the introduction to the section originally marked allegro by Gluck; it is true that he took it at a slower speed than allegro, but it was still considerably faster than the introduction. Wagner’s ending (it is well known that the overture runs directly into the first scene, as also does Don Juan [Don Giovanni]), uses ingenious motifs from the composition to create a soft fading-away [effect], whereas other concert versions end in a Mozartian style with a pompous forte. The overture was followed by a very interesting composition by Ferdinand Hiller, a hymn of mourning of Heloise and the nuns at the grave of Abelard, in Latin, for women’s choir and alto solo. The style of the chorus, with its strict, almost bluntly simple, archaic diatonic harmonies, is highly characteristic; the orchestration is exceptionally rich in colour, but without exaggeration. The next piece was a well-known and much-loved pearl of Protestant church repertoire, Mendelssohn’s Hymn for alto and full choir - actually a series of three vocal pieces, but connected by the close tonalities of E flat, B flat and again E flat [major] and a manner of building from one to the next to a climax. The second number particularly moved us, a chorale in its purest and grandest manifestation, with its broad, majestic melody and climaxes on the caesuras. Originally, the instrumental acompaniment for these beautiful hymns was for organ alone; only later, in adapting the work for performance outside a church did Mendelssohn add the orchestra, yet in doing so he rigorously preserved the plain and serious character of the organ accompaniment without giving in to his usual tendency towards miniature-painting with instrumental colour. In the third number the pedal writing is still unmistakable in the orchestral parts. Miss Günther was excellent as the alto soloist in both Hiller’s and Mendelssohn’s compositions. As much as the first half of the concert was a real success... the second half, Beethoven’s oratorio Christus am Oelberge, was unsuccessful. Even under the best performance conditions this work does not give a great impression; it shows only a great mind engaging in semi-conscious, vain struggles against conventional forms and borrowed impressions, and whole numbers bear the unmistakable signatures of Mozart or Spontini. Even where the true genius most freely raises his head, such as in the chorus of the pursuers, these moments can be found elsewhere in Beethoven. On top of all this, the performance was a failure through and through. We do not wish to describe the details here, and, to resort to a common figure of speech, it is better in the forest of bad destiny not to see the trees of individual mistakes. By way of a partial explanation it should however be stated that Mr Reichel stood in at 24 hours’ notice for Mr Lukes, who was taken ill, in the part of Christ, and sang without rehearsal. Yet even such a last-minute gamble as this proved to be unnecessary. The production would have been just as welcome eight days later, or, if it were better studied, far yet more welcome, than yesterday. Incidentally, even the rehearsals that did take place seem not to have been sufficient in number or in thoroughness, and this half of the evening, opening as it did with a moment of paralysed helplessness between singers, conductor and orchestra, passed by broken and lifeless. Miss Brenner (seraphim) and Mr Strakatý (Peter) were the other soloists alongside Mr Reichel. We sincerely hope that a fresh and exhilarating artistic encounter, such as the capable director Apt is well qualified to provide, may promptly surplant yesterday’s setback.’