Historische Informationen über die Blauen Sänger entdeckt

Musikalische Qualität des Göttinger "Studenten-Gesangvereins" bereits 1863 in London gelobt

Google Books macht es möglich - den Zugriff auf und Einblick in Bücher, die sich in Bibliotheken auf anderen Kontinenten befinden. So konnten wir nur dadurch herausfinden, dass sich nur drei Jahre nach der Gründung der Name des "Studenten-Gesangvereins" schon weit verbreitet zu haben schien. Bei Online-Recherchen stießen wir in der Harward College Library auf eine britische Woschenzeitschrift namens The Musical World, die in ihrer Ausgabe vom 11. Juli 1863 - vermutlich in Übernahme eines Artikels aus der Niederrheinischen Musik-Zeitung - auch einem Bericht über die musikalischen Geschehnisse in Göttingen berichtete. Interessant ist dabei insbesondere folgender Ausschnitt: In one of its concerts the Studenten-Gesangverein gave a very good performance of Mendelssohn's Antigone, with pianoforte accompaniment. Damit handelt es sich bei diesem Zeitungsausschnitt um einen der ältesten Belege über die Geschichte der Blauen Sänger. 

Der gesammte Artikel, der uns zugleich viel über die musikalische Szene Göttingens erfahren lässt, berichtet u.a. von der - wohl ersten - Aufführung der Bachschen Matthäus-Passion und der Wirkung, die dieses Werk bei den Zuhörern hinterließ. Den Angaben in diesem Artikel zufolge kann angenommen werden, dass auch die Mitglieder des Studenten-Gesangvereins an dieser Aufführung teilnahmen. Zugleich liefert er auch einen der frühesten Berichte über das heutige Göttinger Symphonie Orchester. Auch deshalb präsentieren wir hier die Abschrift dieses Artikels, der zugleich ein bemerkenswertes Zeitzeugnis zur Musikgeschichte und -rezeption in Göttingen ist.

MUSIC IN GÖTTINGEN

T^HE most important musical event during the last half year was decidedly the performance in the church of the University, on the 7th March, of the Matthäus-Passion, by J. S. Bach. It causes great enthusiasm among the public, and produced a permanent effect. This was not expected here of Bach. It is true that his Christmas Oratori was executed som few years ago, but it hab never addresses us in such profoundly ferven, touching and powerfull accents as on the present occassion. Let us hope that ist will not again disappear from our repertory. As it is to be presumed that the readers of this paper* [Anm. d. A.: Hier verweist der Artikel auf die Niederrheinische Musik-Zeitung] are acquaintes with the work, I shall not dwell longer upon it, but offer a few observations on the performance.

     This was based upon the score of the Bach Society, but some of the airs, chorales and recitatives were cut out. With the exception of the short choral movement: " Was gehet uns das an ? " all the choruses were sung, and that, too, without any curtailment. The recitatives of the Evangelist wer accompanied on the organ, wich, also, came in, more or less independently, at appropriate places, and principally filled up the effect in the different airs. This part of the performance was discreetly and effectively managed by a very talented young organist, Herr Emil Weiss, of its place. He enjoys an allowance from our king, who sent him to study at Leipsig, Desden, Stuttgart, and Berlin. The choruses, for the execution of which alls the musical resources of the town were united with the Sing-Academie, had been rehearsed with great care and precision under the direction of Herr Hille [Anm. d. A.: Hille war zu dieser Zeit Akademischer Musikdirektor der Göttinger Universität]. They went off without the slightest mistake, and formed one of the gems of the performance. The orchestra, too, which had been considereably augmented, did its duty. In Madame Ulrich, of its place, we had a soprano who fulfilled all the demands made upon her, while Mdlle. Lessiak, from Leipsic, was perfectly satisfactory as the contralto. The part of the Evangelist was sung by Dr. Gunz, from the Royal Opera, Hanover. That he was not in good voice is a circumstance that is to be excused, but a circumstance that is inexcusable is that he did not make his appearance at a single rehearsal, not even at last, and arrived unly as the performance was about to begin. A singer ought never to undertake more than his time and strengh enable him to fulfil. As an artist he must feel his obligation to maintain in all that he does the interests of art, especially when so important at work as des Matthäus-Passion is concerned. Herr Bletzacher, from the Royal Opera, Hanover, undertook the bass part, Jesus, as well as the recitatives assigned to the High Priest, to Judas, and to Peter. He managed them very well, keeping them distinct from the prinicpal part. Despite the fact that this gentleman, also, adopted the unwarrantable course of singing without a previous rehearsal, he acquitted hinself in such a way that the public might well be pleased. He was favored by his good fortune, and, morover, appears to be very certain of himself, musical speaking. Herr Hille, who had spared not sacrifice and feard no trouble to get this grand musical creation introduced to the public, did his best to overcone the difficulties attending the performance itself, and managed to prevent the general impression from being spoilt by any disturbing cause.

     In no previous winter have the concerts of the Academy been distinguished for so many orchestral works, and never have we had such good performances. This ist explained by the fact that, in consequence of the unceasing efforts of Herr Hille, a good town-orchestra has been re-established. It began operations last December. Of the works played at five concerts given by the Academy, I will mention: three Symphonies by Beethoven, those in A major, D major, und B flat major, and the C major Symphony with fugue by Mozart ; Overtures : those to Egmont and Coriolanus, to Iphigenia in Aulis, to Les Deux Journées, the " Meeresstille und glückliche Fahrt," by Mendelssohn, and the Scherzo and Notturno from that composer's Sommernachtstraum. As a sepcimen of more important vocal works, we heard his " Walpurgisnacht." Among the débuts, I may mention that of Dr. Gunz, who sang, on two occasions, airs and songs by Handel, Mozart, Schubert, Schumann, Hille, etc. I am glad of being able to add, that, in opposition to what I hav informed you of his previous appearance, he acquitted himself very honorable. Furthermore, we had Mdlle Büschgens, from Crefeld, but educated in Leipsic. Her style of singing produced a favorable impression. Herr Bott, conductor, from Meiningen, and long known and esteemed as a first-rate violinist, proved his right to the title more espesially by his mode of executing Mendelssohn's Concerto. Herr E. Weiss, already mentioned as an organist, did himself credit by his playing of Weber's pianoforte Concerto in C major. On the 21st March, the Kirkliche [Anm. d. A.: sic!] Singverein (Association for Sacres Vocal Music) under the direction of Dr. Krüger, performed at a private concert, J. S. Bach's Mass in G major, together with some old chorales.

     In one of its concerts the Studenten-Gesangverein gave a very good performance of Mendelssohn's Antigone, with pianoforte accompaniment.

     At the beginninig of the last-half year, the quartet of the Brothers Müller, from Meiningen, paid us a visit, and gave two Soirées. We afterwards heard, also, Joachim, Lindner, and the Brothers Eyrett as quartet players. The comparisons made by our local musicians between the two quartets are not uninteresting. The first quartet is certainliy distinguished for ist perfect ensemble, an the later for its light, easy, and pirited style of executing.                               X.

     Göttingen, June, 1863. 

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