Advance news of this event appeared in Prager Zeitung 15/4/1850. This reported that at the St Raphael church [chapel] of the Institute for Adult Blind approval had been given to hold a memorial service for the late (d.1836) Karl [Viktor] Prince von Rohan. This would take place on 24th April and would comprise a performance by notable dilettantes of Tomášek’s vocal Requiem. The text then noted that this work had never been heard in Prague, except in a trial at the residence of its late composer, and that it’s performance by the Institute had specifically been sanctioned by him. Prager Zeitung 23/4/1850 reiterated news about the event, including that the performance would include dilettante performers, and adding that the religious service would be conducted by ‘Herrn Domprobsten Wenzel Ritter v. Waclawiček’

Bohemia 25/4/1850 published news, signed ‘Δ’, that yesterday in the church [chapel] of St Raphael of the Institute for the Blind, ‘Tomaschek’s magnificent vocal Requiem was performed in a very worthy manner, in memory of a founder of the Institute, Prince Viktor Rohan.’ No further details of the event were given by this source. The performers may have included members of the Institute, who regularly participated in these productions given in memory of the body’s patrons.

Two post-event reports were published by Prager Zeitung. The first, signed ‘J. Heller’, appeared in the issue dated 26/4/1850. This text in part briefly reviewed the occasion and in part was a deliberate and strongly worded personal statement by the author lamenting that no such performance had been given for the late Tomaschek [Tomášek] himself in Prague, and calling upon local artists to remedy the situation as soon as possible. Heller recalled that that work given on this occasion, scored for voices, violoncellos and double basses, had only been performed in the composer’s domestic circle and had proved to be a ‘magnificent, affecting’ composition. Several weeks previously Tomášek had been approached to allow the work to be given at St Raphael for this society, and had undertaken to direct the piece or at least to attend, but had died. The performance could ‘with regard to the small number of possible rehearsals and the variety of the participating artists [i.e. dilettantes of varying abilities], be deemed very worthy of attention.’ The writer then related how in recent times there prevaled a debate in Prague musical circles about the circumstance of the work not having been performed in the city as homage to the composer. At the time of Tomášek’s death Heller considered that there was no question the work was to be performed. However, an entry in an unspecified Prague newspaper [Bohemia] had unreasonably ‘paralysed’ the staging of such an event. Responding, the Prager Zeitung correspondent emphasized that the composer was ‘a Bohemian, one of us’, and therefore should be honoured accordingly. The report then closed with the request that the composer’s ‘immortal C minor Requiem’ be performed soon.

A second, unsigned report of the event was published by Prager Zeitung 1/5/1850. This specified the date, venue and occasion [in memory of Prince Rohan], and that the work given was Wenzel Tomaschek’s [Václav Tomášek] vocal Requiem. ‘This magnificent composition was most successfully and with all reverence performed by dilettantes ... under the circumspect leadership of the choir director Mr Sigmund Kolleschovsky [Kolešovský].’ The solo vocalists were then listed, and the participation noted of gentlemen teaching candidates of the Budeč school in the choir. ‘Devotion and love inspired the whole [performance], the execution was excellent’ and worthy of the ‘unforgetable musician’.