• TRÄG, Anton: soloist, vc
• Estates Theatre orchestra: participating orchestra

News of this event was first published by Prager Zeitung 17/11/1850. A brief report stated that ‘The Professor of violoncello Mr A. Träg organizes on 29th November a concert, which through his talent and through the participation of Mrs Botschon [Botschon-Soukupová] and of Mr Král promises to be of great interest.’

Details of the intention of the native violoncellist Träg to perform in Prague were published by the newspaper Bohemia 19/11/1850. This reported that the well-known ’cellist had been long absent on an artist’s tour [Kunstreise] to Vienna, but that he would give a concert in the Salon [Hall] of the [Guest House / Hotel] Archduke Stephan on 29th November, at which would also participate Mrs Botschon-Soukup and Mr Seeling.

Bohemia 24/11/1850 published an advance report of this concert Träg intended to give on 29th November at 5pm in the Hall ‘zum Erzherzog Stephan’, noting too that the programme would be ‘very interesting’. The works to be performed were then listed together with their performers. The identities of the artists together with their choice of programme was deemed by the correspondent to promise that the ‘Soirée musicale’ would gain a numerous audience. The works listed in the database record are reproduced in the order in which they are covered by this Bohemia text. None of the specified sources reported the orchestra performing on this occasion. Given the appearance and organisation of the concert by resident performers of the Estates Theatre (Král, Träg and Botschon-Soukupová], the orchestra has been assumed to have been that of the Theatre.

The Tagesanzeiger texts of Bohemia 28/11/1850 and 29/11/1850 specified that at 5pm on Friday 29th November in the ‘Hall “zum Erzherzog Stephan”: Concert of Mr Anton Träg.’ No further details were given by these Tagesanzeiger sources.

A review, signed ‘V.’, was published by Bohemia 1/12/1850. This opened by commenting how the audience attending the event was so extensive that the critic had almost cause to forget the disadvantageous climate for art that had filled the political atmosphere for some time. These circumstances [which probably referred to the new suppresive political establishment that had recently come into existence under Alexander Bach] made both the attendance and the great interest inspired by the performance of the ‘excellent virtuoso’ still more honourable. Träg was noted to stand out as an artist ‘not only in the Vltava town [Prague] where there are not many great ’cellists, but enjoys high recognition everywhere.’ However, his choice of programme was not wholly approved of by the correspondent. While it was thought easy to understand how a performing artist would be particularly fond of the compositions of the time in which he developed and lives and is active, a virtuoso should also conform to the current taste, as virtuosity ‘acts only for the present.’ Thus, although his rendition of Romberg’s [then considered an anachronistic, unfashinable work] Concerto was ‘excellent and conformed to the intentions of the composer, the performance did not move the audience. Played with the same eminent technique and warmth, a compositon by [the modern] Servais would have been more successful, as the style, form and manner of expression of this representative of modern ’cello-playing is closer to the predisposition of the modern ear. This is not a criticism of the great Romberg who was so brilliantly successful as composer and virtuoso, but it nonetheless illustrates the speed with which the virtuoso art changes’. In comparison with the reception of the concerto, the positive response of the listener to the two other numbers performed by Träg - a Romanze and the Rondo brillant which were composed by the ’cellist himself - was considered proof of this changing stylistic taste. The cantilena of the Romance was performed with a ‘soulful and pithy-healthy tone that was free from any sentimentality which on the ’cello is particularly unpleasant.’ The Rondo in particular ‘gained a great success.’ In the latter the correspondent drew attention to the ‘flawless technique, the elegance and passion of the performance, especially in the closing section that is full of arpeggios of difficult pitch for the instrument’. Finally concerning Träg, the text reported an evident rumour that the ’cellist was to leave Prague, in which case this would constitute ‘a loss that would be difficult to make up.’

Of the remainder of the concert, the review stated that Mr Král, who played Schubert’s Ständchen transcribed for the viola d’amore, performed as an encore an effectively conceived suite of Czech folksongs. Mrs Botschon-Soukup [Soukupová] and Mr Seeling both obtained applause for their performances. The works they gave were noted.

An unsigned review of the concert was published by Prager Zeitung 3/12/1850. The critic had no doubts about the success of the event in terms of the artists’ performances or the enthusiasm and attendance, but was not convinced as to the hall being satisfactory for the occasion, the venue noted to have been ‘überfüllt [crowded or over-full]’. Träg’s performance of the first movement of Romberg’s Concerto, then the Romanze and Rondo brillant of his own composition was described as a ‘high achievement. Anyone who has any concept of the difficulties in the handling of the instrument must find [his] facility and elegance of control amazing.’

The database programme record derives from the Bohemia 24/11/1850 report, with additional information from the newspaper’s subsequent review. This clarified the works performed by Král as well as identifying the Berceuse given by Seeling as a composition by Schulhoff.