98 Sentences With "Liedertafel" | Random Sentence Generator

The Adelaide Liedertafel (Die Adelaider Liedertafel) is a traditional German male choir, one of several Liedertafeln, or song societies, in the history of Adelaide and South Australia. It is Australia's oldest male choir.

Hobbs was a founding member of the choir of St John the Baptist Church. He was also a founding member of the Christchurch Liedertafel, a choir founded in 1885 that still exists today. For the Liedertafel choir, he acted as treasurer and librarian.

The Australian Broadcasting Corporation has recorded the Liedertafel several times since 1932. The choir first performed on television in 1961 for its centenary. It has also appeared on programs broadcast in Germany. In 1963, Tanunda Liedertafel performed for Queen Elizabeth II in Elder Park, Adelaide.

Bruckner composed the song on a text of Robert Prutz on 12 April 1864, for the Linz Liedertafel Sängerbund (the rival of Liedertafel Frohsinn). The piece was performed on 11 December 1864 by Sängerbund in the Redoutensaal under Bruckner's baton.C. van Zwol, p. 724C. Howie, Chapter III, p.

Berliner Liedertafel (Berlin choral society), as the name for a male-voice choir, was first used in December 1808 by Carl Friedrich Zelter, who established the first north German prototype for such male-voice choirs. In 1819 another society was founded by Ludwig Berger, Bernhard Klein, Gustav Reichardt and Ludwig Rellstab and In 1884, Adolf Zander founded the still active men's singing club Berliner Liedertafel e.V.

The first "Adelaide Liedertafel" met in 1854 and 1855 at Wiener & Fischer's coffee house on Rundle Street, but disbanded when Robert Wiener and George Fischer left for Tanunda, where they operated the Tanunda Hotel. This was not the first Liedertafel in the city however, as the Deutsche Liedertafel, with which Carl Linger (composer, "Song of Australia") was closely identified if not the leader, was performing as early as January 1850, pre-dating the founding of the German Club in 1854, both associated with the Hamburg Hotel. Hamburg Hotel (Oriental Hotel from 1915), Rundle Street, south-east corner of Gawler Place,1864 The better-known, and current, Adelaide Liedertafel was founded in Adelaide in December 1858 by members of the Deutscher Club of Adelaide, notably Linger and Carl Mumme. They comprised much of the younger membership of the Club, who felt stultified by the reactionary attitudes of the older members.

The 1819 "Younger Berlin Liedertafel" (or even younger Liedertafel of Berlin) founded by Ludwig Berger, Bernhard Klein, Gustav Reichardt and Ludwig Rellstab, continued tradition of popular choral music in the city. It differed radically from the elitist, romantic Zelter's Round Table, once it was also based on a democratic statute. Here the generation of young veterans of the World War I gathered, bringing their liberal and patriotic ideas.

In 1884 the new Berlin choral society, established by Adolf Zander, came to existence through a merger of several smaller choirs. The choir counted already with 117 singers by the end of the founding year. In the Wilhelmian Liedertafel era, the Berlin Liedertafel counted with more than 250 singers, being the largest male-voice choir in Germany. The choir took long trips abroad (Austria, Romania, Sweden, France, Baltic states, Italy, Russia, Egypt, the United States, Japan), and along with the Berlin Philharmonic Orchestra it gave great concerts.

The club rented a large room in the Freemasons' Hall, adjacent Earl of Zetland Hotel, Flinders Street from ?? to 1880, the German Club's Albert Hall, then from 1882 the King of Hanover Hotel. At the 22nd anniversary of its foundation in 1880 at the Albert Hall, the Liedertafel performed exclusively compositions by their patron Franz Abt, under the Püttmann baton, Otto Stange on piano. In March 1891 the German Singing Society (organiser H. Heinicke) amalgamated with the Liedertafel, as did several other minor German societies.

Bruckner composed the song on a text of Friedrich von Sallet on 19 March 1864.U. Harten, pp. 196-197C. van Zwol, p. 724 Bruckner dedicated the song to his friend Josef Hafferl, chairman of the Liedertafel Frohsinn.

In addition, he conducted the Würzburg Liedertafel from 1879 and was Court Kapellmeister of Prince-Bishop of Würzburg. Meyer-Olberleben became known primarily as a composer of songs and choral works. His son is the composer Ernst Ludwig Meyer-Olbersleben.

C. Howie, Chapter II, pp. 20-21U. Harten, p. 250C. van Zwol, pp. 720-721 The original manuscript of the work is lost, but copies are stored in the archives of the Liedertafel St. Florian and of the Österreichische Nationalbibliothek.

Sondershäuser Verband Deutscher Studenten-Gesangvereine (SV). Munich 1914, . After his studies he worked as a teacher at the Institute for Church Music in 1887; he also conducted the Academic Liedertafel and a choir. In 1891 he became music director in Mainz.

Bruckner composed the song on a text of Joseph Mendelssohn in November 1869, for the 25th anniversary of Linz Liedertafel Frohsinn. The piece was performed on 15 May 1870 by Frohsinn in the ' in Linz.C. van Zwol, p. 726U. Harten, p. 289C.

Am Grabe is a revised a cappella setting of the elegy Vor Arneths Grab, WAB 53. The elegy was performed on the funeral of Josephine Hafferl on 11 February 1861. The original manuscript is stored in the archive of the Liedertafel Frohsinn.C. van Zwol, p.

U. Harten, pp. 375-376C. van Zwol, pp. 728-729 The song was a favourite of the Liedertafel Frohsinn, which performed it again in Passau in September 1890. As homage to their honorary chairman, Frohsinn performed the song on 4 September 1894 for celebrating Bruckner's 70th birthday.

The work was performed by the Liedertafel Frohsinn on 4 April 1868 in the Redoutensaal of Linz.U. Harten, p. 463C. van Zwol, p. 725 The work, of which the original manuscript is lost, was first issued by Doblinger, Vienna in 1902, together with Der Abendhimmel, WAB 56.

284 Bruckner subjected the work to far-reaching revision in 1869, 1876, and 1882. The second version of 1882 was performed on 4 October 1885 in the Alter Dom, Linz by the Liedertafel Frohsinn, the Sängerbund and Musikverein of Linz under the baton of Adalbert Schreyer.

A tribute to Baumfelder was published on May 27, 1936 in the Dresdner Gazette, a day before the hundredth anniversary of his birth. It said: > It's been 100 years since Friedrich Baumfelder was born, on May 28th. In > Dresden, many people will remember him as the old tall figure with the > white, flowing hair under his hat... It goes on to mention that Baumfelder had written several oratorios, and a setting of the 40th Psalm. These works have since been lost and possibly destroyed during World War II. The article also talks about how the Dresdner Liedertafel praised him, since he was under its leadership for two years: > The [Dresdner] Liedertafel biography of him [Friedrich Baumfelder] says that > he was zealous and always prepared, and conducted with the most charming > skills (...) A memorial for the former musical leader of the Dresden > Liedertafel will be...at the Trinity Cemetery... Baumfelder is still known in the United States, Germany, and in Great Britain today, but only for a few of his works, mentioned below.

From 1921-1926 Münch conducted the Bach Choir in Basel, after which he was active directing various choral societies in the city like the Basel Gesangverein and the Basel Liedertafel. From 1935-1966 he conducted the Allgemeine Musikgesellschaft in Basel. He died in Basel at the age of 90.

In 1850 he took over the leadership of the Neue Liedertafel in Hanover. In the summer of 1852 Klindworth went to Weimar where he took piano lessons with Franz Liszt and was soon one of his closest disciples and friends. He also became on friendly terms with Richard Wagner.

1905 Wanganui Liedertafel - 20th Grand Concert. 1909 Handrails provided on stairs leading to Dress Circle. 1910 Agreement in July to cover stage entrance before next winter. 1911 Engineer told to prepare specifications and tenders invited for erecting stage. 1912 Larger music stands and improved lamp holders for the orchestra.

Bruckner's and Weinwurm's entries were two of the eight compositions chosen to proceed to the final stages. The eight selected compositions were issued in the same year by Josef Kränzl, Ried. At the festival the Liedertafel Frohsinn performed Germanenzug under Bruckner's baton on 5 June. Germanenzug was awarded second prize.

Again, the prize was ten guineas. The winner, announced on 4 November 1859 was Carl Linger, whose pseudonym was "One of the Quantity". Their song was performed at the South Australian Institute soirée at White's Rooms, King William Street, on 14 December 1859 by the Adelaide Liedertafel, conducted by Herr Linger.

Bruckner composed this plea for the teachers on a text possibly of Ernst Marinelli in during his stay in Sankt Florian. Bruckner dedicated the work to his superior, schoolmaster Michael Bogner.U. Harten, pp. 98-99 The song was possibly performed by the Liedertafel St. Florian for celebrating Bogner's 45th birthday.

Other positions he held were choir master of the Salzburger Männergesangsverein (1920-1939) and first choir master of the Salzburger Liedertafel (1939–1946 and 1948–1952). As organist he also toured Germany and Italy. He remained cathedral organist in Salzburg until his death there in 1962 at the age of 68.

Bruckner composed this work, together with Vaterlandslied, on a six-strophe text of August Silberstein in November 1866 during his stay in Linz on request of Anton M. Storch. The song was performed by the Liedertafel Frohsinn on 13 February 1868 under Bruckner's baton.C. Howie, Chapter III, pp. 90-91U. Harten, p. 463C.

The Tanunda Liedertafel is a 45-member male choir in Tanunda, South Australia. Drawing its four-part (TTBB) singing material from traditional popular German culture. The group's origins date back to 1850, based on an entry in The South Australian (10 January 1851). Previously, the choir researchers had only been able to confirm back to 1861 based on a surviving music book case with the words Tanunda Liedertafel 1861 painted on its metal lid, and a report in the South Australian Register of a concert in Tanunda dated 22 October 1861 . The members were also instrumental in the formation of a "German Club" in Tanunda in 1855, proving the continuous nature of the choir from 1850 to World War 1.

Howie, Chapter III, p. 90 The piece was performed first in a transcription for men's choir by the Liedertafel Frohsinn on 4 July 1900. The commentator of the ' (7 July 1900) wrote over a ' (a wonderful composition of our national master Dr. Anton Bruckner). The original manuscript is stored in the archive of Österreichische Nationalbibliothek.

Bruckner composed the second setting of the work on the same text of Ernst Marinelli in December 1857 during his stay in Linz. It is not known whether the work, which was composed possibly on request of Liedertafel Frohsinn for a performance as mixed choir,C. van Zwol, p. 723 was performed during Bruckner's life.

Throughout almost all his composing life, Anton Bruckner composed about thirty ' (secular choral works) and seven ' (mottoes) on German-language texts, the first in 1843 and the last in 1893. Many of these works including the mottoes, often with a patriotic slant, were written for Liedertafel (men's choral societies), above all Frohsinn and Sängerbund.

Bruckner composed the song on a text of Robert Prutz on 11 February 1886, for the (Men's singing association of Strasbourg). The piece was performed on 15 April 1886 by the Liedertafel Frohsinn in the . Because of performance difficulties (humming voices and many modulations), the choir was enhanced by a harp.U. Harten, pp. 454-455C.

For several years he played the harmonium at St Frances Xavier Cathedral. Performances were given at his funeral by the Adelaide Liedertafel and Brunswick Band, of which he was also a founder and conductor. His remains were buried at the West Terrace Cemetery. Later, as part of the State's Centenary, a monument was built on his grave.

He is lead tenor in the ensemble Liedertafel of four male singers and pianist Gerold Huber. His recording of Bach's St Matthew Passion with Nikolaus Harnoncourt won a Grammy Award. In 2014, Schäfer appeared in a performance of Carl Philipp Emanuel Bach's oratorio Die Auferstehung und Himmelfahrt Jesu, celebrating the composer's birth in 1714 as "C.P.E. Bach: 300th Birthday".

The first Berlin choral society also known as "Zelter Liedertafel", named after its founder Carl Friedrich Zelter, was the first male choral society of its kind and a model for similar groups. Composed of 25 men who wrote and performed works for each other, used Das Englische Haus (The English House) on Mohrenstraße as their meeting place.

Resting place of Adolf Zander in the old Sophienfriedhof cemetery in Berlin.Adolf Zander (born 16 January 1843 in Barnewitz an Havel; died 1 August 1914 in Kleinaupa, Riesengebirge) was a 19th-century German composer, organist at the Church of St. Sophia in Berlin, choir director, Royal Prussian music director and founder of the new male Berliner Liedertafel choir.

The work, of which the original manuscript is stored in the archive of the Liedertafel Frohsinn, was first issued in Band II/2, pp. 61–64 of the Göllerich/Auer biography. It was thereafter issued in 1954, together with Sternschnuppen, in the Chorblattreihe of Robitschek, Vienna. It is issued in Band XXIII/2, No. 3 of the '.

The German heritage of Tanunda is still present today. The town has a male choir the Tanunda Liedertafel, the history of which is thought to date back to 1850. There is also a Kegel (bowling) club. The Tanunda Town Band celebrated 150 years as a band in 2007 and is the oldest brass band in the Southern Hemisphere.

Lavater was regarded as a gifted leader of music in rural Victoria. He was fondly known for his direction of Liedertafel concerts held between 1890 and 1920. Several Photographs of Louis Lavater in circulation show him as literate or musical. An oil portrait of Louis Lavater by Rollo Thomson hangs in the State Library of Victoria.

Verlag Philipp von Zabern, Mainz 1999, . S. 1185. Between 1965 and 1970, the yards were rebuilt comprising a concert hall for the Mainzer Liedertafel and used as an event venue for the Mainz carnival, among other things. During renovation work on the hall in 2004, asbestos contamination was discovered, since then the former concert hall was not in operation.

The oldest club is the 110-year- old men's singing club "Liedertafel". Furthermore, there are the women's choir, the Landfrauen, the sport club with its subgroup the "Klostermönche" ("Monastery Monks") and the fire brigade. The Lichtenfels regional group of the Waldeck History Club (Waldeckischer Geschichtsverein) also has its seat in Immighausen. In the village live 402 people.

They performed at the Linger's funeral ceremony, as did the Brunswick (Brass) Band, of which he was also a founder. A notable concert was held at White's Rooms by the Liedertafel and Brunswick Band in August 1864 in aid of the Schleswig-Holstein Relief Fund. A candid review. The Schleswig War of 1864 was a suppression of German nationals in the Danish province.

The club was reorganised in 1871. The choir attended the 1874 Sängerfest in Tanunda, along with the Adelaide Turnverein and Adelaide Liederkranz, hosted by the Tanunda Liedertafel and Tanunda Riflemen. Quarterly social gatherings were held at the Hotel Europe 1877, "Smoke socials" organised by Armbrüster. In that year "passive" (non-singing) members were first admitted, to the financial benefit of the Club.

In 2001 it performed in Adelaide for US President Bill Clinton. Awards have included the Zelter Plaque (1980). The choir also attends Saengerfest(s), this is where groups of choirs (similar to the Tanunda Liedertafel) come together for a weekend of traditional German and Austrian song. The first of these was held in Tanunda in 1874, then again in 1991 and again in 2011.

Bruckner composed the song on a text of Heinrich von der Mattig on 19 October 1877 in memory of his friend Joseph Seiberl, who died on 10 June 1877. The piece was performed nine days later by the Liedertafel Sängerbund in the St. Florian Abbey.C. van Zwol, p. 727 The work, of which the original manuscript is stored in the Library of Congress in Washington,U.

He arranged many German and international folk songs that even today remain standard repertoire of many choirs in Germany and became an integral part of German daily life. In 1829 Silcher founded the "Akademische Liedertafel" in Tübingen and directed it until his death. He was married to Luise Rosine Ensslin (6 September 1804 in Tübingen – 17 June 1871 ibid.). They had two daughters and one son.

Numerous orchestras and choirs, both German (Gesangverein, Liedertafel) and Polish (St. Wojciech Halka, Moniuszko), have also made the city their home. Since 1974, Bydgoszcz has been home to a very prestigious Academy of Music. Bydgoszcz is also an important place for contemporary European culture; one of the most important European centers of jazz music, the Brain club, was founded in Bydgoszcz by Jacek Majewski and Slawomir Janicki.

Bruckner composed the setting for the wedding ceremony of his friend Karl Kerschbaum, chairman of the Liedertafel Frohsinn, with Maria Schimatschek, a concert singer and daughter of Franz Schimatschek.C. Howie, Chapter III, p. 94 The sacred piece was performed by Frohsinn, with Bruckner at the organ, on 5 February 1865 during the celebration of the wedding in the Linzer Stadtpfarrkirche (Linz Parish Church).C. van Zwol, p.

Bruckner composed the song on a text of Heinrich Heine on 5 December 1861. On request of his friend Alois Weinwurm, Bruckner composed the song for the opening concert of the Liedertafel Sängerbund.C. Howie, Chapter III, pp. 89-90 The piece was performed 10 days later under Bruckner's baton in the ' of Linz by four soloists: Hermine and Wilhelmine Ritter, Heinrich Knoll and Ferdinand Hummel.

Howie, Chapter III, p.81 The work, of which the original manuscript is stored in the archive of Liedertafel Frohsinn, was first issued by Doblinger in 1903. It was reissued in 1911 by Viktor Keldorfer (Universal Edition), together with the two other Bruckner's "night-songs" (Um Mitternacht, WAB 89 and WAB 90). The song is issued in Band XXIII/2, No. 25 of the '.

Woyrsch was born in Troppau, just over the Prussian border in Austrian Silesia. He was raised in Dresden and later Altona, a suburb of Hamburg, in a lower middle class family of limited means. Largely self-taught in music, he did study for some time with Ernst August Heinrich Chevallier. He became director of the Altonaer Liedertafel in 1887 and director of the Altona Church Choir in 1893.

He soon developed strong relations with the Schumanns, finding close expression though playing chamber music with them in public and private. Wasielewski found employment as a choral director in Bonn in 1852. At that time he also founded a successful piano trio with Julius Tausch and Christian Reimers. Later, he was offered leadership of the male-voice choir the Concordia Liedertafel and the orchestra of the Beethoven Society.

During this period the so-called Bohemian musician came to know the folk-music of Tyrol, and this showed its influenced in the choruses he wrote for the Innsbruck Liedertafel Choir, of which he was also choirmaster. Komzák's long-standing desire to come to Vienna was eventually fulfilled in 1882, when he was called to the capital to take over the duties of bandmaster to the 84th Infantry Regiment.

Immediately after that, he moved to Dresden, where he was appointed director and a teacher for music theory and choir songs at the Dresden School of Music. From 1878 he was also conductor of the Dresdner Liedertafel orchestra. From 1882 to 1908, he initially taught organ and choir at the National Music Academy of Budapest in Hungary. Later, he also became Professor for composition and was also given a peerage.

He held various appointments as organist in Melbourne and while in Australia his dramatic work Tegner's Drapa based on the work by Longfellow, for solo-voice, chorus and orchestra, was performed by the Melbourne Liedertafel and the Sydney Philharmonic, and his ballad for male chorus, 'The Battle of the Baltic' by the Royal Metropolitan Liedertafel. While touring in New Zealand he met the soprano Anna Sophie Balmson Steinhauer (1858–1949), a widow and celebrated Danish lieder singer whom he married in 1894 and returning to Europe toured Denmark and Germany with her, giving song-recitals. The couple also later made several tours in Australia, South Africa and Scandinavia. The two regularly appeared on the concert platform together when he would accompany his wife in concerts dedicated in part or entirely to his compositions. In February 1900 the soprano Olive Rae gave a recital at the Steinway Hall in which she sang three songs by Mallinson.

Weitzmann was born in Berlin and first studied violin in the 1820s with Carl Henning and Bernhard Klein. From 1827 to 1832 he studied composition in Kassel with Louis Spohr and Moritz Hauptmann. In 1832 he founded a Liedertafel (a peculiarly German type of male singing society) in Riga (now in Latvia) with Heinrich Dorn. In Revel (now Tallinn, Estonia), he became music director of the opera where he composed three operas.

On Saturday 3rd November 2018, singers from Lincoln Choral Society, Gainsborough Choral Society, Scunthorpe Choral Society, Grimsby Philharmonic Society, Louth Choral Society, Neustadt Liedertafel, and the Choristers of Lincoln Cathedral were joined by the Lincolnshire Chamber Orchestra. The soloists were Rachel Nicholls (soprano), Alessandro Fisher (tenor) and Julien Van Mallaerts (baritone). The organist was Jeffrey Makinson, and the pianist was Jonathon Gooing. The conductors were Mark Wilde, Susan Hollingworth and Aric Prentice.

Adolf Zander worked as a musician and teacher, and in particular, he devoted himself to choral music. So, he founded in 1881 the "Zander Quartet Society". From 1877 to 1880 he was the second Conductor of the Berlin Men's Choir "Liedeslust" and in 1884 led both choirs together in the new Berlin Liedertafel. Zander lived in Berlin around 1880 at 26 Höchste Straße, later at 16 Krautstraße and about 1895 on Graefestraße.

The Stadttheater Düren opened in 1907 under his watch. Starting in 1884, Necke began to organize larger "Liedertafel" concerts that invited figures such as composer-pianist Franz Litterscheid. These concerts also saw Necke perform as a pianist and violinist, his repertoire on the latter including Henri Vieuxtemps' Ballade et polonaise de concert and Charles Auguste de Bériot's violin concerti. After his retirement in 1910, the concerts were taken over by E. Jos.

The piece was performed on 24 November 1864 in the ' of Linz by Frohsinn under Bruckner's baton, with Marie Schimatschek and Anna Bergmann as soloists.C. Howie, Chapter III, pp. 88-89 A copy of the work, of which the original manuscript is lost, is stored in the archive of the Liedertafel Frohsinn. The piece, which was first issued by Viktor Keldorfer (Universal Edition) in 1911, is issued in Band XXIII/2, No. 16 of the '.

Otto was the only son of Frederick Hermann Otto ( – 4 October 1894) and his wife Margaret Otto, née Stewart, ( – 13 February 1934) who married in 1874. Frederick, a tobacconist, was a fine singer, a member and secretary of Adelaide Liedertafel. Their family home, from around 1890 to 1923, was "Bonella Villa", 204 Halifax Street, Adelaide. He studied piano as a boy and by age 12 he was accompanying his father's singing at public concerts.

One of Muecke's brothers established a Liedertafel in association with the Verein, which after his death erected a monument to his memory. During the repressive Eichhorn ministry Muecke published some anti-authoritarian pamphlets, for which two of his fellows were punished. He moved to Berlin, where he had a hand in editing educational year- books. Following the Revolutions of 1848, Muecke left Germany for South Australia aboard Princess Louise, arriving in August 1849.

Bruckner composed the song on a text of an unknown author, possibly Heinrich von der Mattig, on 3 February 1882. He dedicated it to August Göllerich senior. With Buckner's agreement, Karl Kerschbaum, the secretary of the Liedertafel Frohsinn, put another, more generalised text on the score to increase the chance of performances. The piece was first performed by Frohsinn in Wels during the fifth ' (feast of the singers associations from Upper Austria and Salzburg) on 10 June 1883.

As a member of the Sing-Akademie zu Berlin (1819-1832) he co-founded the Berliner Liedertafel and soon attracted attention due to his well-trained bass voice. He turned entirely to composition and developed a fruitful activity in this area. After a number of years he acted as a singing teacher with extraordinary success. Due to this he began to have access to aristocratic circles and the royal family of Frederick William III of Prussia.

That day a third visit was made by Captain Quinn and the volunteer artillery. Djambi now first needed to bunker, and so the ship was not open to the public till Wednesday 29 April. However, a short description was given to the public: On Tuesday 28 Djambi was busy bunkering the whole day. In the evening some officers visited the Adelaider Liedertafel, where there was singing in German, which was especially liked by the surgeon T.F. Kluge.

Suter composed the oratorio to mark the 100th anniversary of the (Basel Choral Society), to which the work is dedicated. He was a central figure in the musical life of Basel, as the director of the symphony concerts of the Allgemeine Musikgesellschaft and director of the Liedertafel, municipal music school and conservatory. He was director of the choir from 1902. The composition emerged in the summer of 1923 in Sils in the Engadine, where Suter spent his holidays.

John was born on 5 November 1877 in Hobart, Tasmania to parents who were immigrants from Wales. She left her parents' home while young and moved to Melbourne to study music. She was a contralto and performed with the Metropolitan Liedertafel, the Royal Melbourne Philharmonic Society, and the German Opera Company. John also became an expert in the field of raising poultry, having started her own poultry farm at Deepdene in order to finance her musical education.

The musical culture Münsingen is mainly borne by the local music clubs. With the trombone choirs in Münsingen, Auingen, Hundersingen-Buttenhausen and Dottingen, the Stadtkapelle Münsingen and the music clubs Böttingen, Magolsheim and Rietheim many clubs are active in the field of Brass Band. There are also several church choirs, as well as the secular singer Communities "Liederkranz Münsingen" Männergesangsverein Apfelstetten, Sängerbund Buttenhausen, Liederkranz Dottingen, Liedertafel Hundersingen, men's glee club Trailfingen and the chorus of EJW district Münsingen.

704 Bruckner was their organist and was also from 1860 director of the Liedertafel (choral society) "Frohsinn" who performed the motet to celebrate the anniversary of its founding. Bruckner wrote in a letter about the reception in a letter dated 3 October 1861: "I was, in the end, splendidly applauded by my choir—twice." The manuscript is lost, but copies are found in the archive of the Österreichische Nationalbibliothek and the Abbey of Sankt Florian.U. Harten, p.

Captain Bradney was at one time on the Mt Albert Borough Council. He was a life member of the Auckland Choral Society, with which he was associated for 50 years, and a member of the Amateur Opera Club & Auckland Liedertafel. He died at Epsom, Auckland on 26 May 1936, survived by his wife and six children, Henry Cooper, Horace Launcelot, Blanche Ada, Elizabeth Beatrice, Frederick Charles, and Douglas Eric, two other children having died as infants. He is buried at Hillsborough Cemetery, Auckland.

He accompanied the Lyster Opera Company on their first grand tour through New Zealand and Australia. On arrival in Adelaide in 1863 he decided to remain, and established himself as a teacher of music and singing. In 1865 he married a daughter of the Rev. Dr. Loessel, and following the death of Wilhelm Spietschka on 21 January 1867 was appointed conductor of the Adelaide Liedertafel, a post he held for nearly 20 years, to be followed by C. E. Mumme in 1886.

His first engagement was in 1862 in Wesel. From 1863 to 1865, he went as Kapellmeister and choir director to the New Town Theater in Riga, where he was also the conductor of the Liedertafel. Then he was the first Kapellmeister successively in Lübeck, Königsberg, Chemnitz, Cologne, Hamburg (at the Thalia Theater) and Berlin (Friedrich-Wilhelm-Städtisches Theater). In 1881, he was hired for the Thalia Theater in New York City and changed the following year as Kapellmeister and senior director at the new Casino Theater.

He then went to Calcutta, India, where he was successful for some years as a teacher and conductor, and about 1870 came to Australia as conductor of an opera company. He settled at Melbourne, was much esteemed as a man and as a musician, was for many years conductor of the Melbourne Liedertafel, and was a well-known piano teacher. Zelman compositions included orchestral works, masses and many solos for the violin. He died at Melbourne in 1907 leaving a widow and four sons.

His compositions consist mainly of songs, song collections, and ballads. He wrote the lyrics for most of his song compositions himself. He also made a name for himself as the author of important works on music theory and music history. However, he was best known as the editor of the Musikalischer Hausschatz der Deutschen ("Musical house treasure of Germans"), a collection of about 1,000 songs and chants, as well as the Deutsche Liedertafel ("German song board"), a collection of polyphonic songs sung by men.

During the next several years Squarise also organised chamber concerts, served as conductor of the Dunedin Engineers' Band and Dunedin Garrison Band, and established the Dunedin Citizens' Band. He was conductor of the Dunedin Liedertafel and briefly choirmaster at St. Joseph's Cathedral. Some of Squarise's piano compositions were published during the 1890s and in 1894 he composed a comic opera, Fabian, to a libretto by Donald Cargill. Fabian's ten-night season was a critical and popular success, but Squarise did not compose any further operas.

In 1819 at the request of Carl Friedrich Zelter he came to Berlin, where he spent the rest of his life. In 1820 he became professor of composition at the Royal Institute for Church Music, as well as Music Director at the University of Berlin. Together with his friend, music critic Ludwig Rellstab, he founded the Second Berlin Song Board (Zweiten Berliner Liedertafel). Klein composed oratorios, a Mass, a Magnificat, a cantata, psalms, hymns, and motets, along with three operas, songs, and piano pieces.

He was the only child of the Dachau shoemaker and founding member of the Dachau choir, the Liedertafel, Alois Fleischmann (1844–1914) and of Magdalena née Deger (1846–1928). From 1887–1894 he attended the Dachau primary school for boys. He was given private classes in music, music theory and Latin and in 1896 he was admitted to the preparatory two-year course at the Royal Academy of Music in Munich. Having passed the entrance examination, he studied there from 1898–1901 taking the subjects organ, conducting and, with Josef Rheinberger, composition.

After Fasch's death, his pupil Carl Friedrich Zelter became leader of the Akademie, continuing Fasch's ambitions and objectives. In 1807 he began an orchestra to accompany the Akademie, and in 1808 he founded a men's choir ('Liedertafel'), which became a model for similar choirs flourishing in the early nineteenth century and dedicated to German national music. The members of the Akademie were originally drawn from the wealthy bourgeois of Berlin. From early days they also included members of some of Berlin's wealthiest Jewish families, including the Itzig family and descendants of Moses Mendelssohn.

Born in Straubing, Huber studied on a scholarship at the , piano with Friedemann Berger and Lied accompaniment ("") with Helmut Deutsch. Together with the singer Christian Gerhaher he attended a master class with Dietrich Fischer-Dieskau in Berlin. Huber forms a duo with Christian Gerhaher and has also accompanied singers such as Ruth Ziesak, Franz-Josef Selig, Bernarda Fink, Cornelia Kallisch and Diana Damrau. He is the pianist of the "Liedertafel" founded in 2002 of James Taylor, Christian Elsner, Michael Volle and Franz-Josef Selig and has appeared with the Artemis Quartet.

In the meantime he again worked as a freelancer in Berlin, founded the Berliner Liedertafel, a choral society on the conceptual model of King Arthur and the Knights of the Round Table. In 1854 he traveled with Mr. von Bülow, and then he settled in Riga, where he worked as vocal and music theory teacher until 1858. After that he settled permanently in Berlin. His printed compositions, summoning up to well over 100 opus, were almost consistently received in critical acclaim, but in no way they became universally popular pieces.

As a member of the Wiener Männergesang-Verein, to which Johann Strauss (Sohn) had dedicated this work, he wrote a new text in 1889, which now also took into account the title of the waltz and helped the work to a rebirth. The first performance with Gernerths words took place on July 2, 1890 during a summer Liedertafel of the association in Dreher ParkSchönbrunner Straße 307 in Meidling instead. In old age he suffered from increasing visual impairment. Gernerth married to a sister of the writer Andreas Freiherr von Stifft.

However, he continued to study the piano and organ, also composing his first choral works. Later, Damcke moved to Bad Kreuznach where he conducted the local Musikverein and the Liedertafel and wrote the Oratorio Deborah. In 1837, Damcke went to Potsdam, where he conducted the Philharmonische Gesellschaft Potsdam as well as the Gesangsverein für Opernmusik, with which he performed his Christmas Oratorio in 1840 and in the following year the Psalm 23 as well as an Ave Maria. Also still in 1841, Damcke took over the position of conductor in Königsberg.

Joseph Hummel studied music at the Hochschule für Musik und Theater München under Franz Lachner and worked as theater kapellmeister in Innsbruck, Aachen, Troppau and Vienna, as well as conductor of the Brünn City Theatre from 1876-1879. He became director of the Mozarteum Orchestra and head of the newly established music school International Mozarteum Foundation from 1880-1908. There, he played with the orchestra that he founded, the women's choir and led the Salzburger Liedertafel (amateur male choir) from 1882-1912, organizing several major choral festivals in Salzburg, and thus gaining the reputation as a fine Mozart conductor.

A "Grand Anniversary Concert" was held at the Adelaide Town Hall in September 1905. At their 50th anniversary in September 1908, a great concert was held at the Jubilee Exhibition Building on North Terrace by the choirs of South Australia and Broken Hill, Ada Crossley, the Governor and Lady Le Hunte attending. Participating alongside the Liedertafel were the Adelaide Choral Society, Bach Society, Orpheus Society, Glee Club, Port Adelaide Orpheus Society, and the Broken Hill Quartet Club. The club disbanded in 1914, and re-formed after the Great War, but for the members' pleasure only; they held no further concerts.

Wilhelm was born in Schmalkalden. He studied at Cassel under Louis Spohr, and then in Frankfurt am Main with Aloys Schmitt and A. André. From 1841 to 1864 he was the director of the Krefeld Liedertafel for which he composed numerous male choruses. In Krefeld in 1854 he set to words “Die Wacht am Rhein,” the poem Max Schneckenburger wrote in 1840. In recognition of the success and the national importance of this song, he received the title of “Royal Prussian Musical Director” in 1860, and four years later received a gold medal from Queen (later Empress) Augusta.

The "Brooklyn Daily Eagle Almanac" of 1891 listed numerous sängerbunds in the Brooklyn, New York area. On 21 June 1901, the Nord-Amerikanischer Sängerbund presented a sängerfest in Buffalo, New York, at the famous Pan-American Exposition (where 25th President William McKinley was shot by Leon Czolgosz in a reception line in September 1901). A group in Buffalo hoped to help pay the expenses of the fest by forming the Buffalo Sängerfest Company, selling 1,600 shares of stock at $25 each. In 1838, the Cincinnati Deutscher Gesangverein was formed in Ohio, followed by the Cincinnati Deutsch Liedertafel in 1844.

They also performed at the Metropolitan Liedertafel, held that same week. They assembled an opera company of some 40 or 50 singers to tour Victoria and New Zealand; they had brought with them a full wardrobe and scores for a hundred operas, some new to the colonies. She appeared at Melbourne's new Opera House (on Bourke Street) for Lyster in February 1876, alternating with Ilma De Murska, who appeared in Lucia and Sonnambula while Simonsen had The Grand Duchess of Gerolstein and Maritana. In March the Simonsens' Royal English Opera Company, of around 40 performers left for a tour of New Zealand.

Lauska was born in Brno, and may have been a student of Johann Georg Albrechtsberger while studying in Vienna in 1784. He also spent time in Italy, played chamber music while serving at the Bavarian court in Munich, taught in Copenhagen from 1794 to 1798, and then moved to Berlin. There he performed as a pianist, wrote music, and was a piano teacher of the Prussian royal family and the young Giacomo Meyerbeer. He conducted the Sing-Akademie zu Berlin in rehearsals while Carl Friedrich Zelter was away in 1802 and later became a member of Zelter's Liedertafel.

The Albert Hall in Adelaide was a public entertainment venue in Pirie Street, built for the Adelaide German Club in 1880 and sold to the Salvation Army in 1899. The building, which cost £2,000 was paid for by fund-raising activities, mostly by the members' wives, and by every member contributing £1, which was to be repaid, interest free, out of profits. But the scheme backfired; membership dropped dramatically and the focus of the remaining members was repaying the debt, to the detriment of socializing. Fundraising began almost immediately, with a concert by the Adelaide Liedertafel in October 1880.

The bishop of Linz, Franz-Josef Rudigier, had already commissioned a Festive cantata from Bruckner in 1862 to celebrate the laying of the foundation stone of the new cathedral, the Maria-Empfängnis-Dom. In 1866, he asked Bruckner for a mass to celebrate the accomplishment of the construction of the Votive Chapel of the new cathedral. Because of a delay in completing the construction, the celebration of the dedication didn't take place until three years later, on 29 September 1869 on the Neuer Domplatz. The performers were the Liedertafel Frohsinn, the Sängerbund and Musikverein of Linz, and the wind band of the k.k.

Carl Linger (15 March 1810 – 16 February 1862) was a German Australian composer in South Australia who in 1859 wrote the melody for the patriotic "Song of Australia". German-born intellectual Carl Linger, who had studied at the Institute of Music in Berlin, came to South Australia in 1849 on the Princess Luise. He settled in Gawler, grew potatoes, went broke and settled in Adelaide, where he was far more successful as a musician. He was the founder and conductor of the Adelaide Liedertafel in 1858 and composer of church music, including the "Ninety-third Psalm", "Gloria", "O Lord who is as Thee" and "Vater unser".

Reger composed his first setting of Hebbel's poem as a motet for unaccompanied male choir in 1912 in Meiningen, where he had worked from 1911. He composed it for the Basler Liedertafel, conducted by Hermann Suter, who performed it on 18May 1912 to celebrate their 60th anniversary before giving the official premiere at the national Schweizer Eidgenössisches Sängerfest (Swiss federal song festival) in Neuchâtel on 22July 1912. In accordance with the poem's structure, Reger used the same material for each of the refrains, in a homophonic setting. The words "ihr verglimmendes Leben" (their dimming life) are illustrated by "a sequence of chromatically descending sixth chords".

Around 1878 he left for Germany to study music under Hans von Bülow at the Königliche Musikschule in Munich, returning shortly after his father's early and unexpected death. He made his debut concert appearance in July 1880 at a reunion of the Liedertafel Society at the German Clubhouse in Pirie Street, followed in August by a "Monday Pops" concert in the Adelaide Town Hall, when he played one of Mendelssohn's Lieder ohne Worte and Schubert's Scherzo in F Minor, which were very well received. A month later he was the principal soloist at another Town Hall concert with support from Moritz Heuzenroeder, Minna Fischer and others. He and Heuzenroeder frequently shared the stage, usually on violin to Heuzenroeder's piano.

Tafelmusik (German: literally, "table-music") is a term used since the mid-16th century for music played at feasts and banquets. Often the term was also used as a title for collections of music, some of which was intended to be so used. The function was displaced in the late 18th century by the divertimento, and its importance soon diminished, but it was revived and partially restored in the vocal genre of the Liedertafel by Carl Friedrich Zelter beginning in 1809, and male-voice choral societies describing themselves by this name continued the practice until the mid-20th century. Some of the most significant composers of Tafelmusik included Johann Hermann Schein, whose Banchetto musicale of 1617 acquired considerable fame, and Michael Praetorius, who wrote about the phenomenon of Tafelmusik in his Syntagma musicum of 1619.

She studied for several years at the Melbourne University Conservatorium of Music under Madam Wiedemann and Marshall Hall, returning to Adelaide in 1897, appearing first at the Adelaide Town Hall with the Adelaide Liedertafel and (Hermann) Heinicke's Grand Orchestra, then concerts with pianists Eduard Scharf and Elsie Hall and complimentary concerts to P. A. Howells and Lucy Stevenson, all at the Town Hall. She also appeared with Amy Castles at the Exhibition Building. Following complimentary references by Amy Sherwin, a group of Adelaide music-lovers subscribed to a fund to send her to Europe for further musical education. She left in 1900, first for Frankfurt, where she spent a year under Julius Stockhausen at his music school, studying German, French, Italian, and English diction, sight-reading and choral work, and also receiving private tuition.

It is associated with John St Vincent Welch and his family. John St Vincent Welch was a prominent businessman, who served the insurance business and the general community on Sydney in a number of ways including: Alderman to Willoughby Council, one of the first aldermen to the Borough of Lane Cove, co-founder of the Sydney Liedertafel (Later called the Apollo Club), member of the Amateur Orchestra Society, trustee of the Art Gallery of New South Wales. The house was the childhood home of Kenyon St Vincent Welch who was the first doctor appointed to the Flying Doctor Service. The buildings has been associated with the Anglican Deaconess Institute Sydney since 1946, and with a wide range of welfare and community activities, particularly in relation to adolescent girls and based on the vision and principles established by Anna Pallister.

Although alienated since 1875, the site appears to have been vacant at the time of transfer to the church trustees, who awarded a contract for the construction of Cooktown's first Presbyterian Church the following March. The building was completed within 5 months and dedicated on 3 August 1890. At this time, output from the Palmer goldfields was declining, and Cooktown's importance as the principal supply port to the interior diminished subsequently. The number of Presbyterian parishioners declined almost as soon as their church was completed, and on 2 October 1892 the charge was declared vacant. The building was used for occasional Presbyterian and Anglican services and by community groups such as the Liedertafel (choir singers) until title was transferred in June 1906 to The Trustees of the Loyal Captain Cook Lodge of the North Queensland Branch of the Manchester Unity Independent Order of Oddfellows Friendly Society.

He was one of the founders of the Adelaide Liedertafel and a prominent member of the German Club. Their home at 69 Hackney Road, "Schweitzen Haus", was later home of aesthete Patricia Hackett, left to her partner Dr. A. M. Mocatta, who willed it to the National Trust which controversially sold it in 1994. Richard was educated at E. P. Nesbit's North Adelaide Educational Institution from 1873 or earlier, followed by Pulteney Street School, then St. Peter's College, perhaps only for the year 1878. He studied singing under W. R. Pybus (1848–1917); his public singing began by contributing items at Town Hall concerts in 1882 and 1883, and diverse entertainments such as the Kent Town Wesleyan Band of Hope in 1884, the Adelaide Yorick Club and a benefit for the Home for Incurables at the (Adelaide) Albert Hall in 1885 and a German Shooting Club social in 1886.