Národní listy 22/2/1863 published a notice from the committee of Hlahol announcing that rehearsals for the society’s concert on 27th February would take place on 23rd, 24th and 26th February. Three days later the daily news section of Národní listy 25/2/1863 reported that ‘Hlahol, Prague singing society, arranges on Friday 27th February its first concert. The interesting programme we will make known in the next issue.’ The time the concert was to take place and its programme, in projected performance order, was published by Národní listy 26/2/1863. This source related that the: ‘Programme of the concert, which „Hlahol“ arranges, is as follows: Part I: 1. „Kristus, příklad pokory“ [Christ, example of humility], chorale for men’s chorus from 1573. 2. „Otče náš milý Pane“ [The Lord’s Prayer], chorale song for men’s voices by J. Trojan (1573). 3. „Dožij, dopij“ [Live, drink!] chorus on words of Jos. Frič, composed Jos. Bergmann. 4. „Ebrejská elegie“ [Hebrew elegy] on words V.A. Šmilovský, with accompaniment of violoncelli, composed Zikmund Kolešovský. 5. Pocestný [Wayfarer], chorus on words F.L. Čelakovský. Part 2: 1. „Tři jezdci“ [Three riders], on words of J. Jahn for soli and chorus composed B. Smetana. 2. Písně Hostýnské [Hostýn songs], a, b, c, d, e, f, on words of Furch, for soli and chorus by H. Vojáček. 3. Victory march of the soldiers from opera „Záboj“, composed J.L. Zvonař. Commencing at 5 o’clock.’

A similar report appeared in Lumír 26/2/1863 announcing: ‘First concert of „Hlahol“ which is tomorrow 27th February at 5pm in Žofín Hall has the following programme: Part I: 1. „Kristus, příklad pokory“ [Christ, example of humility], chorale for men’s chorus from 1573. 2. „Otče náš milý Pane“ [The Lord’s Prayer], chorale song for men’s voices by J. Trojan (1573). 3. „Dožij, dopij“ [Live, drink!] chorus on words of Jos. Frič, composed Jos. Bergmac [Bergmac]. 4. „Ebrejská elegie“ [Hebrew elegy] on words of V.A. Šmilovský, with violoncello accompaniment, composed Zikmund Kolešovský. 5. „Pocestný“ [Wayfarer], chorus on words F.L. Čelakovský. Part II: 1. „Tři jezdci“ [Three riders], on words of J. Jahn for soli and chorus composed B. Smetana. 2. „Písně Hostýnské“ [Hostýn songs], a, b, c, d, e, f, on words of Furch, for soli and chorus by H. Vojáček. 3. Victory march of the soldiers from opera „Záboj“, composed J.L. Zvonař. Words for the choruses are for sale for 10kr from the box office.’

An unsigned Dalibor 1/3/1863 review of this concert reported that: ‘First concert of „Hlahol“ took place on 27th February in the Žofín Hall. In the first part we heard two solemn chorales from 1593, that is „Kristus, příklad pokory“ [Christ, example of humility] and „Otče náš milý Pane“ [The Lord’s Prayer], of which the last in particular captured the attention of the audience. The chorus „Dožij, dopij“ [Live, drink!] by Jos. Bergmann (from [the song collection] „Záboj“) is very skillfully worked and lends itself to favourable success with a nuanced performance. Concerning the poetic and deeply considered chorus „Ebrejská elegie“ [Hebrew elegy] with accompaniment of 4 violoncellos by Z. Kolešovský we already mentioned at its first performance in the Žofín Academy, and we note so much, that the composition obtained universal applause. The first part [of the concert] concluded with the humorous and very effective chorus „Pocestný“ [Wayfarer] by L. Zvonař, which on general request had to be repeated. In the second part there was performed the pretty, although in actual performance very difficult chorus „Tři jezdci“ [Three riders] by Bedř. Smetana, in which excelled the soli accompanied by humming voices. Smetana’s chorus obtained vociferous applause, as did the cycle of choruses and solos under the title „Písně Hostýnské“ [Hostýn songs] with piano accompaniment by Hynek Vojáček. The soli in this composition, which Mr Polák and Mr Švarc sang with success, are characteristic, especially the solo „Rád sedám na břehu“ [I like to sit at the bank] in the rhythm of a Hungarian song. The closing number of the concert was the Victory March of the soldiers of Záboj from the opera „Záboj“ by J.L. Zvonař with accompaniment of brass instruments, a hugely imposing extract inspiring a storm of vociferous applause. The performance was fitting [slušné].’

The unsigned review of the concert that was published by Lumír 5/3/1863 was a little more analytical in its judgement, for example in levelling specific criticism at Zvonař’s opera extract, and in remarking upon Smetana’s chorus that the piece is ‘well thought-out, but its [musical] working does not seem to us to agree with the [meaning of the] text.’ The first section, up to the solo entry, was thought to be fitting in its interpretation of the text. However, the second section the Lumír critic thought was inappropriate, the ‘second solo is furnished with a too plaintive melody, so that it really does not fit tmoderhe text, which describes outbursts of revenge.’ The entire review, signed ‘a-a.’, remarked: ‘First concert of the local singing society „Hlahol“ taking place on 27th February in the Žofín Hall was a pleasant entertainment attended by a numerous audience.’ The programme was said to have been distinguished by a good choice of programme and by meticulous performances directed by Mr Heller. The ‘magnificent choice of choruses’ included two ‘ancient’ chorales from 1573; the other items, excepting one that was hunmorous, were ‘modern and serious’. The ‘choral „Kristus příklad pokory“ and the choral song „Otče náš milý Pane!“excelled with their skillful contrapuntal working. – J. Bergmann, known as a good composer, very pleasingly arranged Frič’s song „Dožij, dopij!“ for chorus, but which demands a subtle performance in order that it does not lose its refinement. Although the performance of the chorus was accurate, it did not have all of the nuances that it required. Following this chorus was Mr Kolešovský’s „Ebrejská elegie“ on words of V.A. Šmilovský. This noble work, the best number of this concert, painted with deep feeling and in many places poignant, wants only for a much more powerful ending in order to convey more emphatically the pain of the Israelites verging on despair upon leaving their homeland. The first part ended with the bracing humour of the richly talented chorus „Pocestný“, text by L. Čelakovský, music by Zvonař. The chorus received vociferous applause, so that it had to be repeated. – The second part contained three numbers, among which „Písně Hostýnské“ (text by Furch), by H. Vojáček, of a Moravian family, assumed the first position. These various songs begin and end with choruses, in between which are three solo songs and one in four parts. The fifth of these songs is cast for tenor solo, worked more in the style of a sacred lament, the sixth is reminiscent of a romance. In all is evident the spirit of Moravian folksong, pleasant and noble melodies accompanied by pertinent harmony. Smetana’s chorus „Tři jezdci“ is well thought-out, but its [musical] working does not seem to us to agree with the [meaning of the] text. The first section, up to the solo entry, is appropriate in its working [of the text], but is less so in the second section. The second solo is furnished with a too plaintive melody, so that it truly does not fit the text, which describes outbursts of revenge. The concert closed with  „Vítěžný pochod vojů Zábojových“ [Victory March of the Soldiers of Záboj] from the original opera „Záboj“ of L. Zvonař. Although the text by V.A. Šmilovský does not in itself contain much of brilliance it furnished the composer with more profound opportunities to create appropriately effective scenes, which on the face of it Mr Zvonař has tried to provide with his „Pochod“. Pointedly set is here the accompaniment of brass instruments. The whole chorus, although very rationally [rozumně] worked, would in song and text have been more loftily set as a „hymnus“. It is particularly odd [podivný – also fantastic, curious, fanciful, strange] to have pasted to this noble song at the end: „Tra la la . . . .“ The audience rewarded the accurate performance of each chorus with vociferous applause.’

The criticism by the Lumír 5/3/1863 correspondent of the text of the extract from Záboj drew a response of a published letter from Šmilovský dated ‘In Klatový, 7th March 1863’ in the following issue of the periodical on 12/3/1863. Šmilovský denied that he had penned the text to the extract, that it was not in the original libretto and that it must be by a foreign hand. If the text was included in the programme with Šmilovský’s name attached to it, it was done so without his awareness.

The German-language newspaper Politik 2/3/1863 published an enthusiatic review, signed ‘M.’, of this first Hlahol concert. The correspondent reported: ‘Concert. The ‘Hlahol’ male-voice choral society has entered its second year of artistic activity and it signalled this milestone two days ago with a very interesting concert, given in the Hall of the Sophieninsel. With the exception of one humorous chorus, „Pocestný“ by Zvonař, for which the applause was so great that it had to be repeated, all of the songs performed were of a serious nature. The concert began with two Bohemian chorales of some musical importance from 1573, of which that by Trojan struck us particularly. These were followed by the characteristic, dark chorus „Dožij, dopij“, text by Josef Frič and music by Bergmann, and then the Hebrew Elegy, in a truly ecclesiastical spirit, by Kolešovský with its accompaniment of five cellos. The chorus by Zvonař mentioned above then closed the first half. Next we heard an original choral piece, „Tři jezdci“ by Smetana, in which both the bold and difficult part writing and also a particularly effective use of humming voices surprised us. A highly attractive composition, noble in its realisation and in the true Volksgeist [Folk spirit], was encountered next in the „Písně Hostýnské“ by H. Vojáček: this is a cycle of six religious laments, begun and concluded by the choir with interventions by solo tenor, baritone and bass, and in one number intended for a quartet. Messrs Polák and Schwarz performed admirably as soloists. At the end came the fiery and original Victory March from the opera „Záboj“ by Zvonař with brass accompaniment, which is a fine way of whetting one’s appetite for getting to know the rest of the opera. The very good performance of all of the pieces, though a little marred by the shortage of tenors, was conducted by Mr Heller. The concert was well attended.’

The brief, unsigned Národní listy 28/2/1863 review noted that the concert had a ‘very splendid’ outcome. The Žofín Hall was said to have been full, and all the works were ‘well performed’ by the ‘impressive’ choir. The chorus Pocestný [The Wayfarer] had to be encored; the other choruses met with stormy applause. The correspondent reported: ‘Concert, which the singing society „Hlahol“ arranged, came off very splendidly. The Žofín Hall was filled by the public. All numbers (if we are not mistakem, all of them novelties), were well-performed by the powerful choir and were well-liked. Nápravník’s chorus „Pocestný“ [Wayfarer] on words of F.L. Čelakovský had to be repeated; all of the other choruses received copious applause. More detailed news will be given by our musical correspondent as soon as possible.’ 

A substantial, detailed review of the concert, signed ‘ilz’, was then published by Národní listy on 4/3/1863. The correspondent remarked that as a whole the performances were ‘very good.’ However, in Pocestný the choir was noted to have been ‘a little drowned’ by the accompanying brass instruments. Of Smetana’s Tři jezdci, the critic considered this work ‘spirited, individual and effective’, although reference was also made to the fact that the singers were caused some technical difficulties by Smetana’s application of a modern instrumental music style of writing to the work. The complete text of the review related: ‘Concert of Hlahol, 27th February. Our expectations, which the society Hlahol have built up during the last year, are beginning to be fulfilled. The first of its concerts this year, which took place last Friday, specifically confirmed this for us in the affirmative. In this concert Hlahol appeared in public for the third time in the course of the year, and convinced anew of its vitality which we predicted of it in previous accounts of its activities. Whereas the success of two of last year’s entertainments quite satisfactory, it was perhaps possible to observe, that the performance of pieces in the said concert [i.e. on 27/2/1863] was much more excellent, which testifies to the progress Hlahol is making from one production to the next, as well as to the circumspect direction of rehearsals by the musical director. In our previous news about this concert it was already said that it came off splendidly...’

A brief announcement published by Národní listy 28/4/1863 stated that Smetana’s Tři jezdci ‘which was performed for the first time in the last concert of Hlahol’, i.e. on 27/2/1863, was ‘much liked’, and that copies of the work could be obtained from the composer himself at his address in Řeznická ulice no. 1355-II.

According to Národní listy 4/3/1863, this was the first concert to be given by Hlahol in which the programme was both rehearsed and directed by the new director of the choir, Ferdinand Heller. A critical review by Zikmund Kolešovský of Tři jezdci was published in the first issue of Slavoj (Prague, 1862), pages 265-6.

This concert was not covered by the German-language newspaper Prager Morgenpost.