In the present city district of Krefeld there was, as is well known, neither a princely court nor a bishop’s seat. A citizenship with well-to-do merchants and artisans, as one knows them from the free imperial estates or other metropolises since the middle ages, could only develop late. The occasions to come in touch with beautiful sounds were limited: songs during worship, at school, at home at work, or afterwards, organ and bells, gregorian melodies in the Roman rite, recalling calls from post- or night watchman horns, Drums for military marches, dancing at public or private parties …

The leading Krefelder families, who had come to prosperity thanks to their diligence and their modest way of life, had also sought and found leisure in the music of the eighteenth century. This refers to the emergence of the art-music, so called in classical-romantic tradition. From small, mostly private beginnings Krefeld soon became one of the leading music cities of the Rhineland. With the appointment of the music directors you had a happy hand.

Singing associations, orchestras, men’s singing associations and church choirs gave the Krefeldern the longer the opportunity to listen to the great museum of the musical tradition and to become acquainted with the new sounds of the own present. Above all, one was not only a listener, many were enthusiastic singers and instrumentalists. (Sparse) urban subsidies began to flow gradually. Of the numerous connections with the most distinguished composers and musicians of the time, the friendship with Johannes Brahms is remembered.

The highlight of the Krefeld musical life in the long 19th century was the Tonkünstlerversammlung of the General German Music Society in 1902.

A cross-section of contemporary music was offered, everything that had rank and name – including Krefeld composers – was found, and Gustav Mahler was able to premiere his third symphony in Krefeld’s Stadthalle. It would have to be added that, with the “Wacht am Rhein”, Krefeld had acted worldwide with the development of the bandoneon.

Tonkunstlerversammlung des ADM (1902)

In the meantime, a conservatory had been established, and with the music theater, which had not been quite so far before the beginning of the 20th century, a fellow-player who had grown up with enthusiasm was now on the scene. The new century could therefore offer an extraordinarily rich music program. As everywhere else, the discussion about the so-called “neutrinos” began. The players were gradually taken to the care of urban finance.

The strong foundation of secular and ecclesiastical music associations did not fall back. In 1927, Krefeld was once again able to host the Music Festival of the General German Music Society. Thanks to a private initiative, the orchestra was saved when the financial strength of the city was so weakened as a result of the global economic crisis that the musicians could no longer be employed. The next twelve years brought with it all kinds of ideological initiatives, beside the founding of the music school, 1943 the destruction of Stadthalle, theater, conservatory and soon the end of all events.


  • Anon, “The Annual Festival of German Musicians,” The Musical Times (July 1, 1902), pp. 480-481.
  • Anon, “XXXVIII. Tonkünstler-Versammlung,” Krefelder Zeitung Nr. 287, Mittag-Ausg. (June 6, 1902).
  • Gl., “Die 38. Tonkünstler-Versammlung in Krefeld,” Neue Musikalische-Zietung, 23/14 (June 26, 1902), 189.
  • Wilhelm Klatte, “Die 38. Tonkünstler-Versammlung des Allgemeinen Deutschen Musikvereins zu Krefeld (7.-10. Juni),” Die Musik, I/19 (1. Juliheft 1902), pp. 1761-66.
  • Max Hehemann, “Zur 38. Tonkünstler-Versammlung zu Krefeld,” Neue Zeitschrift für Musik, 98/26 (June 18, 1902), pp. 365-69.
  • Dr. Otto Nietzl, “Die 38. Tonkünstlerversammlung des Allgemeinen Deutschen Musikvereins zu Krefeld,” Signale für die Musikalische Welt, 33 (June 18, 1902), pp. 625-629.
  • Anon, “Zur 38. Tonkünstler-Versammlung des Allgemeinen Duetsche Musikvereins in Krefeld,” Allgemeine Deutsche Musik-Zeitung, 23/24 (June 13, 1902), pp. 405-406.
  • Otto Lessmann, “Die 38. Tonkünstler-Versammlung des Allgemeinen Deutschen Musikvereins in Krefeld,” Allgemeine Deutsche Musik-Zeitung, 23/25 (June 20, 1902), pp. 463-466. 

FESTDIRIGENT: Th. Müller-Reuter

07-06-1902: 1st Orch. Concert, Abends 6:30 Uhr, in der Stadthalle.

Konzertflügel: Bechstein

1. Max Schillings: “Meergruss,” sinfon. Fantasie (comp. 1895/comp. cond.) — Max Schillings, pp. 1573-1574.

2. Felix vom Rath: Klavierkonzert in B-moll mit Orchester (solo: Herr Conrad Ansorge)– Rudolf Louis, pp. 1580-1581

3. Waldemar von Baussnern: Zwei Gesänge für Sopran mit Orchester: (a) “Meeresstille” (b) “Vision” (solo: Frl. Helene Berard/comp. cond.)

4. Leo Blech: “Waldwanderung,” Tondichtung für Orchester (comp. cond.) — Egon Pollack, pp. 1574-1577.


5. Hermann Bischoff: “Pan,” ein Idyll für grosses Orchester, op. 14 (comp. cond.) — Hermann Bischoff, pp. 1577-1579.

6. Hans Pfitzner: “Herr Oluf,” Ballad für Bariton und Orchester (solo: Herr Josef Loritz/ comp. cond.) — Rudolf Louis, pp. 1579-1581.

7. Hans Sommer: Dramatisches Fragment aus der Oper: “Rübezahl” (soli: Frl. Helene Berard(Sopr) u. Herr Rob. Schirmer (Ten)) — Ernst H. Seyyfandt.

8. Eugene d’Albert: Ouverture z. d. Oper: “Der Improvisator” (Carnivalstreiben in Italien)

08-06-1902: Lieder-Matinée (28 Lieder), Vormittags 11:30 Uhr, in der Königsburg.

Konzertflügel: Steinweg Nachf., Braunschweig

1. Max Reger: (a) “Wasldseligkeit” (b) “Der Narr”

–Franz Mikorey: (a) “Die Luft so still” (b) “Landeschaft” (c) “Genesung” (Bariton: Herr Josef Loritz/Klavier: Franz Mikorey)

2. Conrad Ansorge: (a) “Weidenwald,” op. 16 (b) “Stimme des Abends,” op. 15, No.1 (c) II. Gesange a. d. Cyklus: “Waller im Schnee,” op. 14 (Sopran: Frl. Marta Sandal/Klavier: Conrad Ansorge)

3. Eug. Lindner: “Stimmungen aus Friedrich Nietzsche” (49. Gesang.)

–Alfred Lorenz: (a) “Abendlied” (b) “Glaube nur!”

–Fel. Weingartner: (a) “Wie glanzt der helle Mond” (b) “Irrlichter” (Alt: Frau Louise Geller-Wolter/Klavier: Herr Rob. Laugs)

4. Otto Naumann: (a) “Zuversicht” (b) “Das Nest”

–Gustave Brecher: (a) “Das Liebesschloss” (b) “Der Arbeitsmann” (Ten: Herr Robert Schirmer/Klavier: Herr Rob. Laugs)

5. Hugo Wolf: (a)”Und willst du deinen Liebsten sterben sehen” (b) “Wir haven beide lange Zeit geschwiegen” (c) “Ihr jungen Leute, die ihr zieht in’s Feld” (MzSop: Frl. Marg. Bletzer/Klavier: Herr Rob. Laugs)

6. Kurt Schindler: (a) “Künstler’s Abendlied” (b) “Abenständchen” (c) “Frühes Liedchen” (Sop: Frl. Marta Sandal/Klavier: Kurt Schindler)

7. Ferdinand Pfohl: Zwei Thurmballaden (No. III u. IV) (Bariton: Herr Josef Loritz/Klaveri: Franz Mikorey).

08-06-1902: Church Concert, Abends 6 Uhr, in der Stadthalle.

1. Franz Liszt: “Christus” — Theodor Muller-Reuter: 1558-63

(Sop: Frl. Helene Berard;Alt: Frau Louise Geller-Wolter;Ten: Herr Rob. Schirmer;Bariton: Herr Herm. Gausche ;Bass: Herr Jan Hemsing;Orgel: Herr Karl Straube.)

09-06-1902: 2nd Orch. Concert, Abends 8 Uhr, in der Stadthalle

Gustav Mahler: Symphony No. 3 (1st complete performance/brief intermission between first and second movements/Alto Solo: Frau. Louise Geller-Wolter)(comp. cond.) — refused to publish preview, pp. 1563. 1902 Concert Krefeld 09-06-1902 – Symphony No. 3 (Premiere).

10-06-1902: Kammer-Matinée, Vormittages 11:30 Uhr, in der Königsburg.

Konzertflügel(#1): Rud. Ibach Sohn

Konzertflügel(#2-5): Bläthner

1. Paul Juon: Trio für Klavier, Violine u. Violincello, (a) Allegro (b) Adagio non troppo (c) Rondo. Allegro. — Wilhelm Altmann, pp. 1583-1585.

2. Fritz Vollbach: Lieder für Sopran (a) “Gesang in der Mondnact,” op. 23, No. 2 (b) “Frühlingslänten,” op. 23, No. 3 (c) “Morgen,” op. 23, No. 1 (Sopr: Frl. Eva Lessmann/Klavier: Herr Prof. Schumann)

3. Ludwig Thuille: Sonate für Violincello und Klavier (a) Allegro energico, ma non troppo presto (b) Adagio (c) Allegro ma non troppo (Herr H. Dechert u. Ludwig Thuille)

4. Max Schillings: Lieder für Sopran (a) “Sommer,” op. 13, No. 3 (b) “Eros und die Biene,” op. 14, No. 2 (c) “Eros im Becher,” op. 14, No. 1 (Sopr: Eva Lessman/Klavier: Max Schillings)

5. Georg Schumann: Quartett F-moll op. 29 für Klavier, Violine, Viola u. Violincello (a) Allegro motlo Expressivo (b) Molto andante con expressione (c) Quasi presto con faoco (d) Allegro con passione (Georg Schumann, die Herren Professor Halir u. Müller, u. II Dechert) — Georg Schumann, pp. 1581-1583.

10-06-1902: 3rd Orch. Concert, Abends 6:30 Uhr, in der Stadthall

1. Otto Taubmann: “Baldomar sing vor Violante,” a.d. Chordrama “Sängerweihe” (Frl. Marg. Bletzer, Herr Schirmer, Herr Loritz) (comp. cond.)

2. Engelbert Humperdinck: Fünf Tonbilder für Orchester a.d. Märchenspiel “Dornröschen” (a) Vorspiel (b) Ballade (c) Intermezzo (Irrfahrten) (d) Das Dornenschloss (e) Festlänge (comp. cond.) — Humperdinck, pp. 1570-1572.

3. Theodor Müller-Reuter: “Hackelberends Begräbnis,” für Chor und grosses Orchester — Max Hehemann, pp. 1566-1568.


4. Fritz Neff: “Chor der Toten,” für gemischten Chor u. Orchester — Neff, pp. 1569-1570.

5. E. Jacques-Dalcroze: “Concert Symphonique” für Violine mit Orchesterbegleitung (a) Allegro con ritmo (b) Largo cantabile (c) Finale quasi Fantasia (Solo: Herr Henri Marteau) (comp. cond.)

6. Richard Strauss: Kunrad’s Monolog (für Bariton) u. Liebesscene (Orchester) a.d. Singgedicht “Feuersnoth” (Solo: Herr Hem. Gausche) (comp. cond.)

7. Ernst H. Seyffardt: Scene und Ballad für Sopransolo, Chor u. Orchester aus dem 1. Act der Oper: “Die Glocken von Plurs” (Solo: Frl. Helene Berard) (comp. cond.)

8. Richard Wagner: Kaisermarsch mit Schlusschor.

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