Member of the New York Philharmonic (*AM) from 1842 to 1860 [per]

[NY Philharmonic Archives, 1842-1928: The * indicates he was at one time or another the principal. Abbreviations of instruments (e.g. per = percussion) indicates the also played that other instrument. AM indicates "Actual Member."  In the early years there was a distinction made between those who were actually voted in as members and those who were not.]

 

On April 22, 1843, NY Philharmonic third concert: Beethoven’s Septet for clarinet, horn, bassoon, violin, viola, cello, and double bass, played respectively by Groenfelt, Trojsi, Reiff, Hill, Wiegers, Boucher, and Rosier, fared less well. Indeed, “ in many parts it was badly played,” chiefly because of the participation of U.C. Hill. (New World)

 

February 11, 1844: The testimonial concert to Adam Fecher indeed named in the advertisements as the “Factotum of the Concert Rooms,” was sponsored by an imposing committee of important citizens and by virtually the entire personnel of the Philharmonic. The program included Hummel’s Nocturne, op. 99, for piano four hands played by Scharfenberg, Timm, Woehning, and Trojsi. 

[Lawrence, Strong on Music, vol. I, 186, 239]

NY Philharmonic, March 1, 1845. Sinfonia Eroica, No. 3, Beethoven; Sinfonia Concertante, No. 2, for flute, oboe, clarinet, bassoon, and horn, Lindpaintner (Messrs. Kyle, Wiese, Groeneveldt, Reiff, and Trojsi);
[Krehbiel, (1892), p.98]

NY Philharmonic, January 17, 1846. Concerto, for pianoforte, Op. 25, in G minor (first time), Mendelssohn (Mr. H. C. Timm); Symphony Concertante, for flute, clarinet, oboe, horn, and bassoon, Lindpaintner (Messrs. J. A. Kyle, Starck, Weise, Trojsi, and Reiff);

[Krehbiel, (1892), p.99]