Adolph Terschak – Middle Years – 1863-1889

By Tom Moore

The first article of this set of three presented the earliest years of
the flute virtuoso and composer, Adolph Terschak. The third
presents his final years, from 1890 until his death in 1901. This
article traces his activities between 1863 and 1889.

1863
Surprisingly, there are no concert tours or concert tours evident for
Terschak in 1863, although secondary sources report that he was performing
in Germany during this year (for example the Cyclopedia of Music and
Musicians (1893), which also notes that he was “living in the meanwhile at
Hermannstadt and Vienna”.) The earliest evidence that I have found for his
address in Vienna dates to the following year, when he was living at
Mayerhofgasse, 3, about 4 km from the Burgtheater1. He was, however, busy
publishing, with his three easy fantasies for flute and piano, op. 60,
announced as new from Breitkopf & Härtel in June 18632. It seems plausible,
given that reports in the following year note that reports in the press [see
below] note that Terschak gave seventeen concerts in Siebenbürgen
[Transylvania] “in the last month” [Sept.-Oct. 1864], and that he gave his
farewell concert in Hermannstadt on Oct. 2, 1864, that Terschak spent most,
if not all, of 1863 and 1864 in Hermannstadt and thereabouts.

1864

Hermannstadt/N. Szeben

Terschak, artist of the flute, was awarded a silver goblet as a surprise gift by local
admirers3.

1
Terschak, Ad., Tonkünstler IV Mayerhofg 3
Allgemeines Adress-Buch nebst Geschäfts-Handbuch für die k.k. Haupt- und ... Wien (Dec.
1864), p. 417; also the following year (1865), at the same address, p. 336.
2
Allgemeine Musikalische Zeitung, Neue Folge, Vol. 1, (1863), column 443-444.
3
Erdelyi Hetilap: Politikai es szepirodalmi neplap [published in
Nagyszeben/Sibiu/Hermannstadt], Oct. 1, 1864, p. 5
The flute-artist, Terschak, gave his farewell recital on the 2 nd of this month. A large
audience was present. Unfortunately, the singers and other dilettante musicians
who were to appear in the program cancelled unexpectedly, disappointing the
audience. The flute music, that was performed with great artistry and feeling, was
welcomed with great enthusiasm. It is evident that the performance was rewarded
so much applause that the artist was called back to the stage. We must give him
especial recognition, because he also played variations on Hungarian melodies. Also
participating was the orchestra of the Mazzuchelli Regiment directed by
Kapellmeister Oslislo, which performed ovetures with assurance and precision 4.  

The flutist Terschak from Vienna concertized recently in Siebenbürgen, and

gave 17 concerts there in the last month, including two in Hermannstadt. A
melodrama by him, “Die Mutter” was so applauded that a committee was formed
which gave him a heavy silver laurel wreath, with the dedication “Terschak – to the
composer of the melodrama “Die Mutter” from his admirers, Hermannstadt, 1864. 5

It is perhaps interesting to note that Terschak is now identified by the

Süddeutsche Musik-Zeitung, and in his concert in Würzburg in December
1864 as “Terschak from Vienna”. His collaborator for the third of his concerts
in Würzburg was the pianist Franz Max Brava6 (1845-1883), the son of an
opera singer, born in Prague, and who would have been nineteen years old
at the time, performing a work for piano by Terschak, along with
compositions by Mendelssohn and Chopin.

Stadttheater in Würzburg.
Tuesday, December 13, 1864.
….
Grand concert by the composer, and virtuoso on the flute, Mr. Terschak from
Vienna.
For the first time, “Der Präsident”, original comedy in one act by W. Klüger.
Hereupon:
Ouverture from Zampa by Herold
Concerto for Flute, Op. 5 [51] and Orchestra, composed and performed by Mr.
Terschak
Lieder by Schubert and Abt sung by Mr. Wagner
2 Concertos for Flute and Pianoforte:
a. Erinnerung b. Heros Op 24 composed and performed by Mr. Terschak
Lieder by Mozart and Reisiger sung by Madame Borchers
In conclusion, Le Babillard (Der Schwätzer) Concert Etude Op 23 with Orchestra,
composed and performed by Mr. Terschak 7
4
Erdelyi Hetilap: Politikai es szepirodalmi neplap, Oct. 8, 1864, p. 14
5
Süddeutsche Musik-Zeitung, Volume 13, Oct. 24, 1864
6
https://www.academia.edu/38002662/Franz_Max_Brava_1845-1883
7
Würzburger Abendblatt, Volume 24, Dec. 12, 1864
Stadttheater in Würzburg.
Thursday, December 15, 1864
….
Second grand concert of the composer and virtuoso on the flute, Mr. Terschak from
Vienna. A Little Story Without a Name, Comedy in one act by CA Görner
Ouvertüre to Tannhäuser by Richard Wagner
1 Fantaisie de Concert Op 43 in E-flat, with orchestral accompaniment, composed
and played by Terschak
2 Two Lieder 1 “Am Meer” by Fr Schubert for Tenor 2 Ja du bist mein by Heimann,
sung by Mr. Hahn
3 Transcription on Motives from Somnambula Op 42 with orchestral
accompaniment, composed and played by Terschak
4 Two Lieder for Baritone sung by Mr. Grünewald
5 By popular demand: Le Babillard der Schwätzer Conzert Etude Op 23 with
orchestral accompaniment, composed and played by Terschak.

Friday, December 23
Third and last concert of the composer and flute virtuoso Mr. A. Terschak with the
collaboration of the pianist Mr. Franz M. Brava from Vienna
First: Nachtigall und Nichte, Posse in one act by Rudolph Hahn
Then
I. Part.
1 Ouverture to Tannhäuser by Wagner
2 Concert Allegro 18 for Flute and Orchestra composed and performed by A.
Terschack
3 Concerto in G Minor, op 25 for Pianoforte and Orchestra by Felix Mendelssohn
Bartholdy performed by F.M. Brava
II. Part.
1 La Sonnambula op 43 Transcription for Flute and Orchestra, composed and
performed by A. Terschak
2 a. Impromptu in C sharp minor by F. Chopin
b Plaisir du soir op 57 A. Terschak for Pianoforte performed by F.M. Brava
3 In Conclusion, Le Babillard (Der Schwätzer) op 23 for Flute and Orchestra
composed and performed by A. Terschak 8

1865
The following spring brought three extensively reported concerts in Prague,
all in collaboration with Franz Max Brava, as well as a recital for Brava at
which Terschak appeared as a supporting artist.

[Prague]

8
Würzburger Anzeiger: 1864,7/12, Dec. 22, 1864
The concert grand piano by Bösendorfer which was sent here for the concerts of Mr.
Terschak, is, along with a large selection of domestic and foreign concert pianos, on
display for sale in the piano-salons of Bernhard Kohn in Prague, Graben Nr 863-2.
There one may also find on display harmoniums in twelve different shapes and
sizes, as well as an organ-harmonium.9

Concert. Terschak.

The flute virtuoso, Mr. Terschak, enjoys a reputation as one of the leading
representatives of the instrument. The press accompanies his almost constantly
musical touring with great interest and even greater recognition. His achievements
are sometimes placed on an equal plane with those of Drouet, Briccialdi, and
Boehm, and sometimes preferred. For our public as well his achievements at
concerts from several years ago are already renowned, and certainly still in our
memories. The concert given by him the day before yesterdayat the Interimstheater
convinced us, that Mr. Terschak has lost nothing whatsoever in his inner life since
then, but has gained considerably in the external brilliance of his performance. The
production earned a success that was that much more significant in that the
concertists had a full orchestra available for accompaniment, making the indificual
effectiveness of the principal instruement, in the context of the most diverse sound
colors, natural and free. It should be emphasized particularly that Mr. Terschak is
able, not only to dazzle through the so-called magic and concomitant miracles of
the greatest virtuosity and technique, but also, when he as a composer directs his
musical tools to a sphere of activity with a naturalness of performance, to do more
than simply arouse astonishment. His simple cantilena is characterized by an
inwardness and beauty of tone, and when his flute moves in the highest regions
over the foundation of the orchestra, it is indeed like the lark, which soars high in
order to sing. The brilliant virtuosity of the concert-giver, already mentioned, was
manifested in various specialities of his performance in the most surprising way.
Among these belong the art of taking a breath, worthy indeed of admiration
because of its economy and duration, and the most diverse creation of tone. Thus,
he easily has at his disposal every means of overcoming all the possible difficulties,
indeed, even apparent impossibilities for the instrument. Striking are the charming
staccato, the dynamic nuances of the tone, and the numerous artistic devices, the
so-called double-tonguing, especially, but also the apparent use of two voices, no
matter whether it surrounds the principal notes of a phrase, a trill, above or below
with the most diverse kinds of accompanimental figures. If, with these effects, much
that is bizarre and peculiar appears, as can hardly avoid being the case, the clarity
of the most rapid passages, the almost unshakable assurance, could serve as
models for many coloratura singers with the greatest of reputations, who should not
always trust to luck in experimenting before the public. Mr. Terschak performed a
new Fantaisie de Concert, op 42, in which the excellent virtuoso Mr. Staněk
distinguished himself in the obligato harp part, instead of two previously announced
compositions, an already familiar tour de force, titled, if I am not mistaken, “Le
Babillard” – both with orchestra, and a fantasy on Slavic folk melodies with piano
accompaniment, and reaped, as can easily be understood, applause, enough, and
to spare. Supporting him were the young Mr. Fr. Max Brava, a son of the not-yet-

9
Bohemia, 1865, Feb. 26, p. 58?
replaced buffo of the local German opera, who played Chopin’s Impromptu and a
grand etude “L’Attaque”, also by Terschak, with applause. …….10 V

2. Concert. Terschak.
Mr. Terschak plays only his own compositions. The first of his concert numbers
yesterday, a Concerto for the Flute with Orchestral Accompaniment, op. 51, is
characterized by very pretty main ideas and a happy coloring corresponding to the
elegiac character of the instrument. Even the bravura filling-out avoids, usually
happily, the mistakes of everyday ordinarimess, without, as it is hardly necessary to
state, missing in the slightest the opportunity for the most effective unfolding of
technical effects. Any ostentation, however, gives his berceuse, an excellent salon
work, an extremely characteristic and poetic mood. It goes without saying that the
excellent performance contributed a great deal to the especially immediate
effectiveness of the successful composition, not to mention the felicitous choice of
the instruments accompanying – two violins and a viola. The closing number of the
program, “Le Babillard”, in which the virtuosity of the concert-giver finds ample
opportunityfor the greatest possible development, once more caused a sensation.
Mr. Brava demonstrated a significant technique in his performance of Chopin’s
Concerto, op. 11, characterized by clarity, strength and perseverance. With such an
antirely unique artistic individuality, as we also admire in the brilliant company of
the dreamy, yearning poet, it is natural that the understanding of the composition is
not only different for each player, but also for the listeners. Mr. Brava performed,
along with the bravura passages of the exorbitant composition, some tender
moments in a surprising way, the effectiveness of the whole being damaged by a
glitch, because of which the accompanying instruments had to wait for a rather long
time. Among the solo numbers, the Valse: plaisir du soir by Terschak stood out
through extremely piquant performance, and Raff's Polka de la reine through its
external effectiveness. Mr. Brava played both pieces to the most favorable reponse.
In addition to the Ouverture “Meeresstille und glückliche Fahrt”, very well
performed as well, the program also contained two songs, which the composer, Mr.
Kavan accompanied himself at the piano, and which Mr. Lew sang much to the taste
of the public, that he also was called for a bow. Whether the poor attendance of the
concert, despite the invited public, was due to Carnaval and its unrestricted
domination, is anyone’s guess, since the concert took place on a Friday. V 11

[3rd] Concert Terschak.

After the two concerts given in the Quai-Theater, Terschak followed up with a third
on Friday in the Convictsaale. The achievements of the virtuoso were already
discussed in these pages during his first stay in Prague several years ago, and have
now been discussed once more. The Friday program contained mostly already well-
known numbers from his repertoire, among which the last Sonnambula transcription
for flute caused a sensation. It is fitted out with a truly exorbitant cadenza, and, in
the variations, with those seemingly impossible feats for this exclusively melodic
instrument, which have already been the talk of the town. Of the remaining

10
Bohemia: ein Unterhaltungsblatt Feb. 2, 1865
11
Bohemia: ein Unterhaltungsblatt Feb. 5, 1865
numbers, the Concerto op. 4212 certainly missed the orchestral accompaniment
heard at the theater, but nevertheless made its effect, since the good
accompaniment by Mr. Bravo was paired with the obligato harp part, handled
virtuosically by Mr. Stanèt. The salon compositions, “Berceuse” and “Sommernach”
enjoyed the same success as before. Mr. Brava, as well, only brought pieces that
had been heard earlier, and certainly with decisive applause, so that he had to
repeat the “Polka de la Reine”. The young pianist seems, as his previous repertoire
mostly suggests, to have focused his attention on the technical aspects of playing.
In fact, virtuosity, strength, and endurance of both hands have been significantly
developed. The purely artistic part of each performance, the conception of the
content, and putting soul into the playing, will have to now be the main goal of his
further efforts. The concert gained a special brilliance through the collaboration of
Miss Zawisanka, who sang Arsace’s aria from Rossini’s Semiramide, and the
Romance and Prayer of Desdemona, with a beautiful voice, and such excellent, truly
dramatic expression, that one can probably overlook several arbitrary changes,
since descending to the tonic in the upper octave in the latter piece. The fact that
all participatns, as well as the concert-giver, received copious applause and curtain
calls hardly requires special mention. V. 13

[4th] Concert Terschak.

Carnival Sunday proves, as a rule, not to be favourable for musical

productions not related to Carnival. Nevertheless, the fourth concert by Mr.
Terschak, given at the Convictsaale on Sunday at 12 noon enjoyed very good
attendance; the public was in the most receptive mood, and so animated by the
performances offered, that it bestowed on the concert-giver, all the supporting
artists, and even the program of the orchestra which began and concluded the
concert, curtain calls and loud expressions of applause. Mr. Terschak was in a very
good disposition, and confirmed once again, with his performance of the pieces “La
Sirène”, “Caprice de Concert”, “Le Babillard”, and the Sonnambula transcription
that which has already often been said about him as a flute virtuoso; a particular
sensation was caused by the last two mentioned tours de force, so that the concert-
giver, called for an envore, added his “Berceuse” as well. An especial surprise was
prepared by Miss Zawisanka, with the excellent performance of the splendid
Schubert composition, “Der Lindenbaum”; that her beautiful voice and impactful
way of singing brought her even greater applause in the Donizetti cavatina is easy
to explain. The musical band of the laudable Graf Gyulai Infantry Regiment, under
the direction of Mr. J. Strebinger confirmed their good reputation with the extremely
correct and precise performance of the grand parade march, “Vive l’Empereur”,
dedicated by Mr. Terschak to the American Army, and arranged by Mr. Strebinger
for military band. The latter composition, characterized by its lively rhythm and
melody suited to the ear, would have had an even greater effect if the band, richly
instrumented with woodwind and brass, had had a broader space for the
extraordinary volume of sound than the limited space of the concert hall. V 14

12
This is the Fantaisie de Concert, op. 42, published by Breitkopf & Härtel with
accompaniment for piano or orchestra.
13
Bohemia: ein Unterhaltungsblatt Feb. 21, 1865
14
Bohemia: ein Unterhaltungsblatt March 1, 1865
[5th] Concert Terschak.
The flute virtuoso, Mr. Terschak, gave, in association with Messrs. Zottmayer and
Brava yet another grand concert day before yesterday at the Inselsaale. Since we
have already reported about the achievements of the concert-giver several times, it
is sufficient to state, that in his Concert-Allegro, his Serenade and Barcarole, then in
a Sonata for Flute and Piano by Kuhlau, and in the Scene from Kreuzer’s
“Nachtlager”, a transcription for flute of the concertante violin in the hunter’s great
aria, confirmed what has already often been said in deserved appreciation of his
playing. The young pianist Mr. Brava not only accompanied all the numbers on the
program, but also played Mendelssohn’s F-sharp minor Presto with great skill. Mr.
Zottmayer sang, in addition to the already mentioned aria, another three poems by
Schumann, among which the “Frühlingsnacht” particularly stood out; and also the
popular songs by Gumbert very much pleased the audience. Miss Fliess, who
performed Susanna’s garden aria, “Des Mädchens Klage”, and “Aufenthalt” by
Franz Schubert, then, in place of Miss Rottmayer, who did not appear, filled out the
resulting gap through the drinking song from Donizetti’s “Lucretia Borgia”, which
was encored, found in the acoustic hall much more opportunity to succeed with her
animated and understandable singing than she had at her debut on the stage. V 15

The flutist Terschak was given a silver goblet for his participation in a concert in
Prague16.

The flute virtuoso, in Prague, together with the pianist, Brava, has given three
successful concerts and performed several of his newest compositions for flute. 17

After this successful series of five separate concerts (something almost

unheard of at the time) Terschak and Brava continued on to Vienna and from
there to Graz.

[Vienna]
Pianist Brava [Franz Max Brava] In a concert which the pianist Brava, recently
famous in Prague, gave on the 19th of the month at the Salon Bösendorfer in Vienna,
the artist performed with his left hand alone, and provided some laudable examples
of his skill. The flute virtuoso, Mr. Terschak, supported the concert-giver in the most
excellent way18.

[Graz]
The flute virtuoso Mr. Terschak has traveled to Graz, where he will present two
concerts at the Thalia Theater19.

15
Bohemia: ein Unterhaltungsblatt , March 19, 1865, p. 806
16
Caecilia, April 1, 1865, p. 76
17
Zeitschrift für Musik, Volume 61, Feb. 25, 1865, p. 76
18
Express (Prague), Vol. 1, (April 22, 1865), without pagination.
19
Express (Prague), April 30, 1865.
(Thalia Theater)

The flute virtuoso Mr. Terschak, who concertized on April 29, might have had every
reason, in looking at the empty house, to have exclaimed, with Schiller's Ferdinand:
“Unhappy flute playing, that should never have occurred to me“, had it not been
for the roaring applause with which his performances were received, compensating
him to some degree for the financial loss. The era of golden harvests for the concert
soloist is over. Terschak fully justified the reputation that preceded him, and proved
himself to be one of the leading masters of his instrument. Along with a brilliant
bravura, the artist is also able to achieve surprising modulations in his tone, and
elicit such forte and piano, such crescendo and descrescendo as we have, perhaps,
not heard since Briccialdi. He has particular strength in sliding tones.

The artist played his own compositions with orchestra throughout, one
transcription (on motives from Sonnambula) and two original pieces, which
generally pleased with their attractive motives and capable musical performance.
Along with him concertized as well the pianist F. M. Brava from Prague, who played
a couple of pieces by Terschak and Raff, and demonstrated respectable technical
skill, which, however, did not seem quite developed enough for the rapid tempos
(which were taken, for example in “L’attaque”). Miss Materna meritoriously sang
Lieder by Mozart and Schubert20.

 
Thalia-Theäter
Saturday, April 29, 1865
Concert
By the
Flute Virtuoso Mr. A. Terschak
Concert Program
a Concertfantasie Opus 43 with orchestra composed and played by A. Terschak
b Lied sung by Miss Materna
c Plaisir du soir Opus 57; Concert walzer and l’Attaque, Op 74 by Terschak, played
by Mr. Franz Max Brava
d Lied sung by Miss Materna
e Le Babillard (der Schwätzer) op 23 with orchestra composed and played by A
Terschak
f Polka de la Reine by Joachim Raff played by Hrn Franz Max Brava
g Transcription on Motives from Somnambula with orchestra composed and played
by A Terschak
NB The Bösendorfer used in the concert is from the piano salon of Mr. Joh. Meyer.
After the concert:
Eigensinn, comedy in one act, by Roderich Benedix 21

Terschak concertized on the 30th of the month in the theater in Graz. 22

1866
20
Tagespost Graz, May 2, 1865.
21
Tagespost Graz, April 29, 1865
22
Zeitschrift für Musik, Volume 61, May 19, 1865, p. 187
[Vienna]

1866 brings a series of concerts in Vienna at the Harmonie-Theater, each in

conjunction with a stage work.
[1]
Harmonie Theater
Concert by the Composer and Flute Virtuoso A. Terschak
For the first time, Diana und Endymion
or Die Schuld eines Stubenmädchens
Original Schwank in one act by Traxler
Gervasius Schnapp – Mr. Reichmann
Gustav Selig – Mr. Meier
Emilie von Schröter - Miss Donato
Lina Stubenmädchen – Miss Zink
Josef, servant – Mr. Neumann
Herr Reichmann als erstes Debut

Concert
1 Concertstück Op 51 for flute and orchestra performed by A. Terschak
2 Hungarian Song: “Oh ne mondj engem rózsadnak” by B. Egreßi, performed by
Miss Jos. Rudarsz
3 Song by Marschner “Liebchen wo bist Du”, Walzer by L. Venzano, both sung by
Miss Camilla v. Webersfeld
4 Le Babillard. (Der Schwätzer), Op 23 for flute and orchestra performed by A.
Terschak

Grand Czardas danced by Misses Schellenberg Subel Leuchtmann Herrn Holzer und
dem Corps de Ballet23

[2]
Harmonie Theater
Concert by the Composer and Flute Virtuoso Mr. A. Terschak

Bursche vom Leder

Comic operetta in one act by Wolf
Music by Carlo de Barbieri
…..
Concert.
1. Fantasie on Motives from the Opera “Die Nachtwandlerin”, performed by Mr.
Terschak.
2. Allegro Finale, from the overture to the opera “Wilhelm Tell”, performed on
wind and straw instruments with orchestral accompaniment, by Miss H.
Friedberg
3. a: “Der rechte Mann”, by Gumbert

23
Fremden-Blatt (Vienna), Vol. 20, (April 4, 1866), p. 8
 b: “Ich kenn’ ein Aug’, das so blau”, von Reichardt, both sung by Miss Grodé.
4. Walzer by L. Wenzano sung by Miss Camilla v. Webersfeld.
5. Fantaisie de Concert, op. 42, for flute, harp, and orchestra by A. Terschak. The
harp part has been taken by Mr. Moser, member of the K.K. Court Opera
Theater24.

Finally, we must mention a concert which the flute virtuoso, Mr. Terschak, gave
day before yesterday at the Harmonietheater. His playing, full of feeling in the
Adagio, competent bravura and rare purity are the advantageous qualities of this
rare artist. Two ladies supported the concert-giver with performances of songs,
without causing particular interest 25.

[3]
Harmonie-Theater in Neu-Wien
Concert by the Composer and Flute Virtuoso, Mr. A. Terschak

Eine heiratsfähige Tochter

Lustspiel in einem Act Frei nach dem Französischen von E Reymond
…..
Concert
1 Concertstück, Op 51, for flute and orchestra, Orchester performed by A. Terschak
2 Aria from the opera I Puritani, by Bellini, performed by Miss Meyer.
3 Le Babillard (Der Schwätzer), Op. 23 for flute and orchestra, performed by A.
Terschak

Burschen vom Leder, comic operetta in one act and three pictures with dance by
Wolf. Music by Carlo de Barbiere26.

The flute virtuoso Terschak is now concertizing with applause at the

Harmonietheater in Vienna27.

The flutist Terschak concertized at the Harmonietheater in Vienna with lively

applause28.

Adolf Terschak gave two concerts at the same location. Like Bottesini, Terschak is
also the lord and master of his material. Like Bottesini, he is also in the all-
embracing, outwardly brilliant and inwardly truest sense, not only a material, but
also a poetic technician. Like him, he also offers , no matter from what perspective,
the unusual and unexpected. Both understand how to make the material useful to
the spirit and the musical soul, and how to reconcile both elements into and with
each other. As for the contrabass in the hands of Bottesini, thus in those of

24
Fremden-Blatt (Vienna), Vol. 20, (April 9, 1866), p. 8
25
Neue Berliner Musikzeitung, vol. 20, April 11, 1866, p. 118
26
Die Presse (Vienna), April 19, 1865
27
Signale für die musikalische Welt, vol .24 April 12, 1866, p. 385
28
Neue Zeitschrift für Musik, Vol. 62, (April 20, 1866), p. 141
Terschak, the flute becomes a typical, highly personal essence, capable of all
possible levels of expression. For Bottesini, and for Terschak, both the virtuosic and
the artistically inspired character of theperformer interpenetrate each other to the
same degree. One listens to both with the impression of victorious confidence, and
one keeps the same elevated mod, even as a spritiual remnant or echo of its effect,
always awake and upright. Both artists, finally, are equally strong in the shaping of
the foreign and personal. Bottesini is a good musician and composer, comfortable in
the saddle, in the sense of his gift of invention and of the thematic working-out skills
of his more select Italian compatriots, of the middle Italians, fertilized here and
there by German ideas. Terschak, the composer, stands on the other hand on
essentially German, predominantly Mendelssohnian ground. His Concertstück, Op.
51, the opening number of his first concert this year, is truly not in E minor by
chance. It is the most eloquent daguerreotype of the Mendelssohn violin concerto in
the same key. But to his honor let it be said that it is no pale, dead picture, but a
colorful one, full of life and spirit. The further gifts of the Terschak concerto were, in
the first line, dedicated to the display of the truly immense technique of the
virtuoso. Nevertheless, one cannot deny in any characteristic that canny musician,
who is able to use his best abilities for creating organic – and as far as the limited
forms of etude and the so-called fantasy allow – and spiritual shapes. So, for
example, the material focus of the composition titled “Le Babillard” is on the
boldest technique of leaps and the farthest-extended experimentation with all kinds
of trills and broken chords. In the middle, however, the red thread of a graceful
melody is drawn out, which in turn offers the instrument every opportunity to excel
in the more spiritual way just mentioned29.

1867
Once more, there is no evidence for touring or concerts by Terschak in
1867. In compensation, he apparently was composing an operetta to be
performed in Vienna. I have seen no indication that it actually got to the
stage beyond the one-line report below.
[Vienna]

The operetta, Feuer im Zirkus by Terschak is supposed to be performed at

the Harmonie Theater in Vienna30.

1868
Terschak continues to reside in Vienna, and has moved to
Kettenbrückengasse, 7, about one km from his previous address31. I have
found no other documented visit to Gmunden.

29
Neue Zeitschrift für Musik, Aug. 31, 1866, p. 305
30
Gemeinde-Zeitung: unabhängiges politisches Journal, Dec. 7, 1867, p. 8. The manuscript
parts and scores are held at the Austrian National Library (Music Manuscript 1535).
31
Terschak Ad Tonkünstler IV Kettenbrückeng 7, Allgemeines Adress-Buch nebst Geschäfts-
Handbuch für die k.k. Haupt- und (1868), p 639
[Gmunden32]

[Gmunden]
In the afternoon at 3 PM the association met once more before the parish church,
and from there marched with musical accompaniment to the restaurant “Villa
Engelshofen”, where the second high point of the festival “the Brotherhood of the
Comrades” and under the direction of the composer Mr. Adolph Terschak a
production of the Liedertafel “Frohsinn” and the unified musical bands was to take
place. 33.

Gmunden.
The composer Mr. Terschak, who is here at present, was elevated by His Majesty
the King of Portugal on July 6 to a Knight of the Order of Jesus Christ. Along with the
Order, Mr. Terschak received at the same time, through the Imperial Royal
administration, an autograph note from His Majesty, which recognizes, in the most
flattering terms, the brilliant achievements of the composer and virtuoso. --- It is not
uninteresting that this order was founded by King Dionys in the year 1317, and for a
long time has only been awarded in exceptional cases. Among artists, Liszt and
Terschak are the only Knights of this high order. 34

1869

[Linz]
Concert on Sunday.
We once again note the concert of the flute virtuoso, A. Terschak, which will take
place on Sunday the 21st of the month at 5 PM, in the regional Redouten-Saale. The
rich program, as well as an interesting aneccote from the life of the exceptional we
will offer tomorrow35.

In the following we present the program for the concert of Mr. Ad.Terschak which,
with the obliging collaboration of Miss Kaufmann, and Messrs. A. Geier, Ed.

32
Gmunden is a small town in Upper Austria, located where the Traun River flows northward
out of Traunsee, later to meet the Danube River SE of Linz.
33
Gmundner Wochenblatt, vol. 18, (September 9, 1868), p. 425; also Linzer-Abendbot, vol.
14, (Sept. 10, 1868), p. 63.
34
Leitmeritzer Wochenblatt (Oct. 31, 1868), p. 349
35
Linzer Volksblatt für Stadt und Land, vol. 1, Feb. 17, 1869 , no pagination
Hauptmann, Koschier, Komzak jun., Seelig, and C. Weilnböck, will take place on the
21st of the month.
1 Trio für Piano Violoncell Flöte von Terschak Die Herren Hauptmann und Terschak
2 a Wer sich der Einsamkeit ergibt Aus den Gesängen des Harfners von Schubert b
Vertrauen von Esser Fräulein Kaufmann
3 Wiegenlied für Flöte mit Begleitung von 2 und Viola von Terschak Die Ä Geier
Komzak Koschier und Terschak
4 La babillarde für Flöte und Piano Begleitung von Terschak Die Herren Hauptmann
und Terschak
5 a Felsen Lied von Esser b In diesen heil gen von Mozart Herr Weilnböck
6 La Fantasie für die Flöte und Piano Begleitung von Terschak Die Herren
Hauptmann und Terschak
Tickets for sale at the bookstore of Mr. Ewert, Annagasse. 36

[Vienna]
Vienna.
The flutist, A. Terschak, has received the Knightly Cross from the royal Portuguese
Order of Christ37.

Theater Linz.
The concert by the flute virtuoso Mr. Terschack which took place at 5 PM yesterday
in the Redoutensaal was quite well-attended, and very successful. We can say that
the concert-giver still far exceeded the high expectations that preceded him, and
thus could justly enjoy truly stormy applause and numerous bows after each piece.
Mr. Terschak has such a mastery over his instrument that we truly do not know
which nuance of his masterful playing we should prefer. The rare power and purity
of his high notes, as well as the astounding power of his low notes, like a bassoon,
give, together with the melodic sound of the middle range, such a rich register of
amazing tonal beauty that the listener is not a little surprised at the effect of a
single small instrument. If we add to this the unbelievable duration and purity of the
trills, and the art of expressively bringing the sound from the softest whisper to the
loudest crescendo at will, along with a truly musical, deeply felt performance,
whose advantages we were able to perceive especially in the connection of
individual notes, then we probably do not need to explain further that Mr. Terschak
is a virtuoso of the first rank. Among the four numbers performed, the concert-
etude, La Babillard, encored by the concer-giver with charming good will, and the
fantasy on La Sonnambula were especially appealing because they gave the most
occasion for the display of his virtuosic playing. This was also very evident

36
Linzer Volksblatt für Stadt und Land, vol. 1, Feb. 18, 1869 , no pagination. The anecdote
mentioned on Feb. 17 is printed here on the same page, and is the one which is included in
my article on Terschak’s early years.
37
Deutscher Theater-Correspondent, Volume 14, Feb. 21, 1869
throughout in several compositions by the concert-giver, whose compositional
talent was most manifest in the Trio. …..38.

The Imperial Royal chamber virtuoso, Ad. Terschak, will give a concert next Sunday,
the 14th at 5 PM in the regional Redoutensaal. We will provide the program soon.
Tickets can be had in the Art and Music Store from Th. Ewert. 39

(Concert). As already reported, the flute virtuoso Mr. Ad. Terschak will present
a concert tomorrow, the 14th at 5 PM in the regional Redoutensaal, at which the
Misses Bertha Glöckner and Klotilde Kainersdorfer, and Messrs. Gerike and
Hauptmann will also collaborate. Below we provide the very interesting program of
this concert:
1 Duo in F minor for piano and flute by Terschak, Mr. Hauptmann and the
concert-giver.
2 Declamation by Miss B. Glöckner
3 a Romance b Concert Etude (by demand) by Terschak; the concert-giver.
4 a “Da lieg ich unter den Bäumen”, Lied by Mendelssohn b “Ständchen” by
Schumann; Miss Kainersdorfer
5 Hommage à Händel for two pianos, by Moscheles; Messrs. Gerike and
Hauptmann.
6 La Siréne Concert Caprice Terschak der Concertgeber 40

Concert. The second concert by the flute virtuoso, Mr. Terschak, whose attendance
probably suffered considerably due to the competition of the museum lecture by
Professor Edlbacher, remained consistently at the high level of the first, in that all
the pieces played by the concert-giver, and amont these especially the Babillarde,
known from last time, and the concert caprice, once more received stormy
applause, which was also fully justified by the captivating performance by the
virtuoso, already discussed by us at length. The numbers in between consisted of
the excellently played Duo for two pianos played by Messrs. Gerick and Hauptmann,
and the performance of two songs by Miss Kainerstorfer and a declamation by Miss
Glöckner, met throughout with the most abundant applause, even if we could not
really get the right taste for the entirely theatrical handling of the declamation 41

Linz.
On February 21, in the regional Redoutensaale there was a concert by the flute
virtuoso, Mr. Ad. Terschak, with the partipation of Miss Anna Kaufmann, opera
singer at the local theater, of Messrs. C. Weilnböck, teacher, Ed. Hauptmann,

38
Linzer Volksblatt für Stadt und Land, vol. 1, Feb. 22, 1869
39
Linzer Volksblatt für Stadt und Land, vol. 1, March 10, 1869 , no pagination
40
Linzer Volksblatt für Stadt und Land, vol. 1, March 13, 1869 , no pagination
41
Linzer Volksblatt für Stadt und Land, vol. 1, March 15, 1869 , no pagination
Imperial/Royal functionary, and A. Geier, Koschien, Komzak jun., and Seelig,
members of the local theater orchestra, with the following program: Trio for Piano,
Violoncello and Flute by Terschak, played by Messrs. Hauptmann, Seelig, and
Terschak; a: “Wer sich der Einsamkeit ergiebt” (from the “Gesängen des Harfners”
by Schubert; b: “Vertrauen” by Esser, sung by Miss Kaufmann; “Wiegenlied for Flute
with accompaniment of two violins and viola, by Terschak, played by the concert-
giver and Messrs. Geier, Komzak, and Koschien; “La babillarde”, Concert-Etude for
Flute and Piano, accompaniment [sic] by Terschak, played by the concert-giver and
Mr. Hauptmann; a: “Der Felsen”, Lied by Esser b: “In diesen heilgen Hallen” by
Mozart, sung by Mr. Weilnböck; La Somnambula, Fantasie for the Flute and Piano,
accompaniment by Terschak, played by the concert-giver and Mr. Hauptmann. ---
Both the concert-giver, who is able to master his instrument to the highest degree,
and combines an assured attack with an elegant technique, as well as the
supporting artists reaped rich applause from the audience. Miss Kaufmann proved
herself, through her finely nuanced, soulful performance, with consistently good
diction as an equally treasurable concert singer, just as she shines in the opera, and
is the darling of the public. Likewise, Mr. Weilnböck was able to show off his
powerful and appealing bass voice, even in the lowest notes; now we would only
wish that we could hear him sing publicly more often. 42

1872
Early 1872 found Terschak visiting in Berlin.

[Berlin]

The Imperial/Royal chamber virtuoso, A. Terschak, renowned as an excellent flutist

and as a composer of many effective works for his instrument is staying here at
present.43

Berlin .
The imperial chamber virtuoso Terschak, who is staying here for a few weeks, and
whom we have had the opportunity to here in private circles, astounds with his
eminent virtuosity on the flute. The greatest difficulties, which he sets for himself in
his compositions, he overcomes in an almost unbelievable way. We regret that Mr.
Terschak has not found the opportunity, during his stay in our city, to be able to
present our audiences publicly with his eminent achievements. 44

42
Die Tonhalle: Organ für Musikfreunde. 1869, Jan. – März, March 8, 1869, p. 172
43
Neue Berliner Musikzeitung, Volume 26, (February 21, 1872), p. 62
44
Neue Berliner Musikzeitung, Volume 26, Feb. 21, 28, 1872
From a report from Berlin – the playing of two separate parts by Terschak on
the flute is also mentioned in the report of his “new discovery” in the
Musicalisches Wochenblatt in regard to his planned tour to the USA.

Once Miss Olsen from Copenhagen sat down at the piano, and then Terschak came
from Bohemia and seemed to play two separate parts on the flute at the sametime,
that is, he sang and played, to the astonishment of his listeners. It is a pity that the
sweet flote has almost been declared to be outlawed – who is able to hear it? Who is
inclined to accept the achievements of a flute virtuoso without prejudice? 45

[Intended tour to America]

Terschak was evidently planning a tour to the USA in 1872. I find no

evidence from the contemporary press that such a tour ever took place.

— Everything rich and rare is Westward bound. Terschak, the Hungarian virtuoso,
who plays the flute like an angel, and some say better, is coming to America 46.

On his intended concert-tour to America the flute virtuoso Adolph Terschak will
exploit his new discovery allowing him to play double notes on his instrument. Her
writes to Mr. J. Schuberth in New York with regarding to this: “Since September 22 I
have been playing doubles notes on the flute in thirds, fourths, fifths, sixths and
octaves, I do everything that a violinst does…I go even further, I play a melody in
half-notes, and accompany myself in quarters or sixteenths”, etc. Mr. Terschak even
believes that, with the effect of his improved playing, he is able “to make the
nerves of a Hercules shudder” 47..

1875

Terschak had been residing in Vienna since at least 1863 or 1864. 1875 is
the first time he is reported as residing in Munich. A report from his 1881
tour in Scandinavia repeats this information.

The composer Terschak.

45
Musikalisches Wochenblatt, Volume 3, April 26, 1872, p. 280
46
New York Musical Gazette, vol. 6, Nov. 1872, p. 173
47
Musikalisches Wochenblatt, Volume 3, April 3, 1872
 For some time, the Austran composer has chosen Munich to be his ongoing
residence. Here he has recently completed his newest composition, Italian Travel
Pictures [op. 152], which will soon by published by Schmid in Nuremberg. Among
his other compositions, the most famous is named Austrian Village Stories [op.
134]. Just from the choice of names it can be seen that we are dealing with a
musical speciality here.48

1876
CHRISTIANA.—Herr Ad. Terschak, the virtuoso on the flute, who has been for some
time past making a professional tour through Norway, recently gave a successful
concert in this town. He is accompanied bj Sig. Aromatori, an Italian pianist 49. 

[Most of 1876 was occupied touring through Norway 50. ]

1878

[England was visited in 1878, but the stay was short, and left no happy memories 51.]

1880

John Finn reports in his posthumous article that Terschak made another tour
to Norway and Sweden in 188152, but the evidence from the press shows
that this actually began in 1880.

[Norway]
Christiania. The renowned flute virtuoso, Professor Adolf Terschak, gave a concert,
in the gymnastics room of the fortress, on Sunday, July 25, which due to the time of
year, less favorable for concerts, was not as well-attended as one would expect
given his reputation as a professor of the first rank. Mr. Terschak handles his
48
Münchener Nachrichten Feb. 5, 1875
49
The Musical World, Nov. 11, 1876, p. 753. This material had already been published in the
journal Cecilia in the Netherlands the previous June: De fluitvirtuoos Ad Terschak zal op zijn
voorgenomen concertreis door Amerika van zijne uitvinding om op zijn instrument
tweestemmig te blazen gebruik maken Hij schrijft daarover aan den heer J Schubert te New
York het volgende Sedert 22 September speel ik op mijn instrument dubbele toonen tertsen
kwarten kwinten sexten octaven kortom gelijk een violist Ik ga nog verder ik speel een
mélodie in halve nooten en bege leid die met kwarten of zestienden enz De heer Terschak
gelooft zelfs door zijne uitvinding de zenuwen van een Herkules in beweging te brengen Dit
bijna ongeloofelijke bericht wordt oenigzins waarschijnlijk gemaakt wanneer men nader
verneemt dat hij de mélodie met falsetstem zelf begeleidt Tot dit resultaat is hij eerst
gekomen na eene ernstige studie van 14 jaren! Caecilia: algemeen muzikaal tijdschrift (June
1, 1872) p. 94
50
John Finn, The Last Years of Terschak, Musical Opinion, vol. 25, (Jan. 1902), p. 285
51
Finn, ibid.
52
Finn, ibid.
instrument – the wooden flute, which he has not exchanged for the more modern
silver flute - which, however, in several respects is lacking the wooden flute’s good
qualities – with artistic superiority. Along with an excellent technique, he
understands how to elicit the softest and fullest tones, so that his performance in
musical terms is that of a true artist. As a composer, he has also developed a rather
important activity within the salon and virtuoso genres, and the compositions which
we have had the opportunity to get to know, reveal a musical nature, although
without being distinctly original, melodious and appealing. The concert-giver only
performed his own compositions at this concert, namely the so-called
“Nordlandsbilder” (Huldra  å en Elland and a Halling), along with variations for flute
and a sonata for flute and piano, and “Die Nachtigal” for soprano, flute and piano.

The concert giver was assisted by a young singer, Miss Adolfa Terschak 53, who
performed the soprano part in “Die Nachtigall” and then sang Rosina’s famous aria
from the “Barber”, as well as two romances, “Wiegenlied” byTerschak and
Schumann’s “Widmung”. Miss Terschak has an entirely beautiful voice, which is still
somewhat unclear in the higher register, while in the area of musical development
she seemed to still be at the point of a student. A pianist, Miss Lundel, collaborated
in the sonata, and also performed some solo numbers by Mendelssohn, Heller and
Rheinberger with musical tste, just as she could be seen to be a skillful
accompanist.54.

1881
[Sweden]
Stockholm, February 8.
The past month has had a basic coloration that is foreign. Artists from abroad have
given concerts or appeared on our main stage. One can say that the month was
characterized by the names of Ferenczy, Terschak and Tolbecque.
….

The flutist Terschak is renowned in Norway, where I (especially in the newspapers in

Bergen) Bergenstidningar) saw him preaised in the finest flowery language, which I
certainly do not begrudge him, although he is not without his faults. There is some
hissing in his tone, and the intonation is not always pure. Men visserligen lemnar
virtuositeten intet att önska. The flute has the disadvantage as a solo instrument
that it is somewhat abstract and inexpressive; a soulful cantilena is not its thing. In
compensation for this, it loves to move in the purely virtuosic, with fast staccato,
and abrupt leaps between widely separated intervals. Terschak is not lacking in
such accomplishments. Even more wonderful is his pianissimo and his melody notes
which are so thickly interwoven with alternating figuration that the whole thing
sounds like polyphony. He appears once more today, when his daughter will appear
for the first time as well.55.

53
The Nordisk musik-tidende states that Adolfa is Terschak’s daughter (Nordisk musik-tidende, vol. 1,
September 1880, p. 144.
54
Nordisk musik-tidende, vol. 1, August 1880, p. 135.
55
Nordisk musik-tidende, February 1881, p. 26
[Denmark]
Report.
Copenhagen, March 29.
The influx of foreign artists has not for several years been as great as precisely in
this month, in which presenting concerts was very much impeded by the death of
the Queen-Widow, although the closure of theatres and and concert halls has been
kept to a minimum through a decree from the King. In spite of the obstacles the
renowned singer, Scalchi-Lolli, who came to us by happenstance (she was engaged
at the Italian opera in Petersburg) was able to give two concerts in which one had
the opportunity to admire her beautiful alto voice. One will scarcely hear a more
beautiful timbre today, and since her intonation is always flawless, even in the most
difficult passages, and her performance is always animated, the singing of this
signora is a great pleasure. The tenor-baritone Unghetti and the renowned flutist
Terschak collaborated at her concerts. The latter came from Sweden and Norway,
where he has given at least forty concerts in the course of the winter. His
performance are heard with pleasure here, because his playing is not only highly
skilled, but also reveals his genius in nuance and tone color. The musical master,
also active as a writer on music, goes from here to his homeland (Munich), while the
Diva will stay a short time in Sweden.56.

The Italian vocalist, Scalchi-Lolli gave a fine treat for our good Copenhageners a few
days ago, and presented a draft of Italian enthusiasm of the purest water. She
possesses a splendid and superbly trained alto voice, with tones both as strong as
metal and as soft as velvet. Her repertoire was unfortunately the well-known and
old, repeated over and over by Trebelli and many others. Along with her concertized
a baritone, Signor Ughetti, who was not a heroic, but yet characteristic
representative of Italian singing, and the flute virtuoso Terschack, with whom you
will already be acquainted, and whose great virtuosity, even with his lack in
direction of the use of tones, brought him much applause 57.

1883

In addition to the visit to Istanbul mentioned below, Finn reports that

Terschak also toured to Bohemia, Hungary, Romania and the Orient during
this period. He goes on to mention that “flute recitals and travelling in South
Russia, Caucasia, and Daghestan took up the whole of 1887. 58.

The Eastern Express of August 7th announces that M. Adolphe Terschak, the

Hungarian flautist, lately played before his Majesty the Sultan; the latter was
so pleased with the performance that he conferred upon M. Terschak the order of
the third class of the Medjidié59.
56
Allgemeine musikalische Zeitung, Volume 16, April 6, 1881, p. 222
57
Nordisk musik-tidende, April 1881, p. 60
58
Finn, ibid.
59
The Musical Standard, Sept. 8, 1883, p. 145
1885
Terschak evidently continued to write articles and feuilletons for the press
throughout his life (he is cited as a writer on music in the review from 1882
quoted above), although I have been able to unearth only a few (several are
translated in my article on Terschak’s late years). In 1885 Terschak, who had
more experience than many Europeans with the music of the East, and made
use of this in his compostions, published an article in French on Oriental
Music. I have found the number for Le Progres Artistique online, but did not
find the article cited by the Musikalisches Wochenblatt.

…..
Le Progres artistique
No 381 Propos d un Ours. Von Martin. -- Le projet de loi Beige sur la proprie te
litteraire et artistique. Berichte, Nachrichten u. Notizen.
No 382 La Musique Orientale. Von A Terschak 60

1888
The flute virtuoso Professor Terschak has recently given two concerts in Dorpat to
great applause, and will then give concerts in Petersburg and Moscow 61.

The flute virtuoso Prof. A. Terschack has given two concerts with great success in
Dorpat, and will now concertize in Petersburg and Moscow 62.

Finn reports for this period:

“The late summer of 1888 found our artist in West Siberia organizing
orchestral concerts and conducting Beethoven’s symphonies in Tomsk, the
university state of West Siberia. This venture over fresh fields was mapped
out, and a long journet to Irkutsk (the east capital of Siberia)
undertaken….This remarkable tour was then continued to Vladivostock, and
thence to Japan and China…..Many highly profitable flute recitals were given
before the European populations of Nagasaki, Tokyo, Yokohama, Shanghai,
Nanking, Beijing, and other town of Japan and North and South China63”.

1889

60
Musikalisches Wochenblatt, vol. 16 (Sept 3, 1885), p. 449.
61
Nordisk musik-tidende, April 1888, p. 60
62
Signale für die musikalische Welt, Volume 46, April 1888, p. 380
63
Finn, ibid.
 Although the Musical Courier reports in late 1889 that Terschak is touring Japan, the
only press reports for this Far East journey date from the following year, in 1890, presented in
the third of this series of articles.

Adolf Terschak the flutist after completing a Siberian concert tour is now concertizing in Japan64.

64
The Musical Courier, vol. 19, (September 18, 1889) p. 249
Music reviews:

1863

Concertstück für die Flöte mit Begleitung von Orchester oder Pianoforte von
Ad Terschak, Op. 51. (Winterthur, Rieter-Biedermann.)

Although the piano reduction certainly does not allow us to recognize

the full effect of the work with certainty, yet the flute part is that much more
certain to be very effective. The concerto is in one movement with various
changes in tempo; its character recalls that of the Mendelssohn violin
concerto, from which individual passages seem to have appeared in the
mind of the composer; the musical value of the work is, without wanting to
deny some very nice details, only subordinate; its seems principally focused
on the effect of the principal part, the study of which, and occasional public
performance of which we hereby would like to recommend to the flute
virtuoso.65

Mon Portrait. Humoresque pour Piano par A. Terschak, Op 48. (Munich, Falter
& Fils.)

If this piece means to present the portrait of the composer, then he has in no
way flattered himself; the music is characterless and spiritless, and formally
incorrect as well. So, for example, in transition from measure 7 to 8, and
elsewhere as well, there are parallel octaves counter to the principles of
voice-leading, which as false doublings, are more or less like a portrait with
two noses. This will be enough for the composer, and so we want to spare
him, for some other corrections in his portrait, a third one. The typical part of
the volume is fitting for the contents. 66

Jugendträume für Pianoforte von A Terschak. Neue Folge 4 Heft München

Falter und Sohn.

The title of the pieces are Congratulations, The Good Mood, The Secret,
In the Forest, The Request, Soldier-play. The music comes from a warm
mood, and its charm lies in its naturalness, unfortunately linking this virtue
with the problem that nature has not passed through the appropriate

65
Signale für die musikalische Welt, January 22, 1863, p. 77
66
Signale für die musikalische Welt, January 28, 1863, p. 90
process of artistic shaping. The charming melody is frequently offered in a
superficial musical form that smacks of dilettantism67

1865

“Le Désir ardent” by A. Terschak is a rounded work for the salon, whose
legato, singable melody is surrounded by appropriate accompanimental
figures, and which, in any case, belongs with the best that Terschak has
written68.

1866

A Terschak Ave Maria für Sopran oder Tenor Solo mit Begleitung 1 obligaten Flöte 2
Clarinetten 2 Hörner 2 Violinen Viola Cello und Bass Wien bei CJ Bartelmus

A very melodious song, very secular in style, as we often hear in Catholic

churches in Southern Europe, and as is probably demanded there because of the
sensual attraction and immediate comprehensibility. Breathing only charm,
sweetness, indeed triviality, it is far from all the seriousness of the church. H
Krigar69.

A Terschak op 76 Le désir ardent Leipzig CF Kahnt

A salon work, which, although it does not degenerate anywhere into flatness in
terms of melody and harmony, could perhaps be half as along, since the
accompaniment of the melody causes a monotonous effect given the duration 70.

1873

With an excellent effect are the two songs written especially for bass, “Beim Wein”
by G. Jansen and the gripping “Verbannt” by A. Terschak 71.

Terschak, A., Op 131 A: Leichte instructive Duetten für die Flöte

Heft 1 Tonarten mit Kreuzen M 4 50
Heft 2 mit Been M 4 50

67
Signale für die musikalische Welt, January 29, 1863, p. 107
68
Zeitschrift für Musik, Volume 61, Nov. 3, 1865, p. 398
69
Neue Berliner Musikzeitung, vol. 20, June 13, 1866, p. 186
70
Neue Berliner Musikzeitung, vol. 20, July 4, 1866, p. 211
71
Silesia, Vol. 14, (January 25, 1873), p. 52
Terschak, the Paganini of the flute, has, in these easy duets, masterfully understood
how to accommodate the practical needs of flute students, and, with his
comprehensive knowledge of the instrument, has provided smaller model works,
which offer all those devoted to playing the flute the surest guide on your way to
perfection. 72

1873
Popular Melodies  of England, Ireland,  and Scotland. Arranged for Flute and
Pianoforte, and Violin and Pianoforte, by A. TERSCHAK. London : Augener &
Co. THE English melodies selected for this most useful little work are of a truly
representative character. There are none not well known and well loved, and all
appeal as strongly to English people because of the association of words and
melody as for words and melodies separately to all English-speaking people. If any
answer were needed to the absurd statement that the English have no melodies,
and there are no native songs, the present collection might be offered with pleasure
as an answer the more conclusive, as the tunes therein contained are not only still
sung every day, although many have been written for years, but with some degree
of pride might the collection be offered, as having been selected by a foreign
musician from among a vast store, less, perhaps, for the knowledge of any national
association, as for the universal beauty of their melodies, appealing to all hearts
endowed with the common gift of estimating grace and power in melody.
There are eighteen separate tunes, including "Home, Sweet Home," "The Bay of
Biscay," "Here's to the Maiden," "The British Grenadiers," "Gaily the]Troubadour,"
"The Bailiffs Daughter," "Cease your Funning," "The Lass of Richmond Hill," "The
Jolly Miller," "Begone Dull Care," and others. In the songs of Ireland the list is no less
tempting, as a quotation of the contents will show. "The Harp that Once,''
"Cruiskeen Lawn," "The Last Rose of Summer," "The Girl I Left Behind," "Garry
Owen," "The Last Glimpse of Erin," "St. Patrick's Day," "Love's Young Dream," "Rich
and Rare," "Lesbia hath a Beaming Eye, "The Minstrel Boy," "Shule Agra," "The Time
IVe Lost in Wooing," "If Thou 'It be Mine," "Wreathe the Bowl," "The Rakes of
Mallow," "When Cold in the Earth," and "The Young May Moon," not one of which but
has many admirers in and out of the country from which they are supposed to have
originated.
The Scotch airs are more in number, a qualification which will commend the
collection to the nation noted for its thrifty characteristics. They are also, if possible,
of such a kind as may be considered as even more representative than either the
English or Irish collections, if such a thing can be. The airs are "The Blue Bell of
Scotland," "Annie Laurie," "Charlie is my Darling," "Ye Banks and Braes," "Auld Lang
Syne," "The Campbells are Coming," "My Love She's but a Lassie Yet," "The Waefut
Heart," "Weel may the Keel Row," "Bonnie Laddie," "John Grumlie," "My only Joe and
Dearie," "The Maid of Islay," "Yellow-haired Laddie," "Corn Riggs," "Highland Mary,"
"Farewell to Lochaber," "Robin Adair," "Auld Rob Morris," "Auld Robin Gray." It is
quite possible that many may contend for the transference of one or more of these

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Musicalisches Wochenblatt, vol. 6, (July 16, 1875) no. 29, p. 367.
tunes into other collections than those in which they are found. Thus " Robin Adair,"
classed here as of Scottish origin, is by some held to be Irish, under the title of
"Aileen Aroon," "The Girl I Left Behind Me," Mr. Chappell considers to be English,
and not Irish, and "Rock me to Sleep, Mother," comes to us from America. They are
sufficiently beautiful as melodies to be claimed by any nation; and the universality
of their charms are recognised by those who do not wish to make them the theme
of a controversy. All that need be spoken of now is the character of the
arrangement by Herr Terschak, and of this the highest praise must be given for the
taste and judgment displayed as well in the flute and violin parts as in the
symphonies and accompaniments to the several songs. These are all new and very
effective, simple, and by no means troublesome to perform. Each melody is
arranged to be played in a plain unadorned style at first, and then it is varied in a
simple and engaging form; and as the flute part is equally available for performance
by a violin or other treble instrument, the possible popularity of the three excellent
collections of some of the most favourite melodies belonging to our three sister
kingdoms is likely to be secured in a wide and lasting manner 73.

73
The Monthly musical record, Volume 9, Oct. 1, 1879, p. 157