• Prague Conservatory: participating institution

Lumír 5/3/1863 reported the ‘Konservatorium [Conservatory] arranges on 8th and 15th March concerts in the Konvikt [Hall].’

Details of this event were published by Prager Morgenpost 13/3/1863. The newspaper published the date, time, venue, programme and participating soloists, as well as drawing particular attention to the performance of Veit’s Symphony: ‘Concert notice [Konzertanzeige]. On Sunday 15th March will take place in the Konvikt Hall the second concert of the Conservatory. Making up the first part of the programme is Veit’s E minor Symphony; the second [part] contains four numbers: 1. Divertimento for the double bass, composed by Prof. Hrabě, performed by Franz Kratochwil (accepted [into the Conservatory] 1858). 2. Aria from the opera „Guttenberg“ by Füchs, sung by the pupil of the Opera School Mathilde Zawrtal (accepted [into the Conservatory] 1859). Concertino for Obor [oboe] by Voigt, performed by Franz Bayer (accepted [into the Conservatory] 1858). 4: Concert Overture by Jadassohn (new). – The Symphony by Veit, that earnest [ernsten], satisfying [stillen], sympathetic [wohlwollenden – benevolent, sympathetic, complaisant], so talented and yet so modest artist, was performed here for the first time (3 years previously) under the direction of the lamentably recently deceased Franz Skraup in a great concert in the Žofín Hall... It is therefore very gratifying that this very interesting work of our native composer is once again put before the general public.’ The source report concluded with the note that the performance of the Overture by Jadassohn would also be very interesting to friends of music, given that his compositional talents were little known in Prague, only his Symphony having previously been given in a concert of the Cecilia Society.

A substantial review, signed ‘-ý’, of this concert was published by Prager Morgenpost 17/3/1863: ‘The Conservatory’s second concert took place on Sunday at noon in the Konvikt Hall in the presence of a very numerous and extraordinarily distinguished audience. Again the first part of the programme contained a symphony, specifically the one by W.H. Veit in E minor (being heard here [in Prague] for the second time). Its character throughout is charming and graceful, but a sorrowful spirit is present too. Veit tries not to shock, nor to carry away by means of tremendous power, but to move with gentle feelings, so to speak, to win the affection of the listener through more intimate persuasion. Throughout, the ideas are noble, singular and brilliant, and developed with an originality demonstrating the artistry of an exceptional talent; the result is that upon each repetition [of the work] the feelings of the listeners become even more profound as fresh springs of genius are revealed. The themes themselves, in a sense the real kernel of the work, are stamped all over with intrinsic character in that they hold one’s interest through their inspirational power; the impression they make is very striking. Consequently, their expression is noble, their general character truly symphonic. In the form of the whole we perceive an underlying idea, a single unifying strand, which the composer knew how, with great consistency, to hold down. The development of his ideas, and the technique of their handling, shows that Veit strolls past the ground upon on tread the second-rates of the period [i.e. Veitʼs developmental process are advanced past the conventional, run-of-the-mill).ʼ The critic then noted that Veit also made no attempt to be imitative of modernist musical style: ʻVeitʼs musical language in form and content is by now only active on the side of tradition; innocent of the reforming movement of the modern time. The form and workmanship in the entire composition wants nothing. This applies too with respect to the orchestration: the colours are drawn out in characteristic tints, in this regard the Scherzo is in particular a work of splendour. The movement captures our attention (after the second in C major) as the liveliest, not only by virtue of its freshness and naturalness, but also from its richness, its individuality of rhythm and magnificent harmony. Instinctively it reminds me of the words of Jos. Beyer, that he tenders in terse manner in his Aesthetik (bk.2, p.92).ʼ Here the correspondent quoted this passage by Beyer which stressed the importance of rhythm as a means of strengthening the expression and effect of both melody and harmony. The review then covered the remainder of the concert: ʻOf the instrumental soloists performing before the public this time were two pupils: Franz Kratochwil [Kratochvil] and Franz Bayer. The first played a Divertimento written for the Contrabass by Professor Hrabě; he stood at an advanced level in technical education on his instrument... , and even if he did not give all the signs of being, so the germ of becoming a proficient artist was in his hands. The latter-named [pupil Bayer] gave a Concertino for the oboe and was very pleasing. His tone is soft, full and beautiful, the execution free and natural. (Both pupils were admitted to the institute in 1858). Following on from them Miss Mathilde Zawrtal (admitted 1858) sang an aria from the opera „Guttenberg“ by Füchs. The young lady has a bright soprano of not small range, and also a not small ability for dramatic performance. If her voice grows more solid and full she promises to have a very pleasant future. The end of the concert was made up of a new Overture by Jadassohn in C minor. In Jadassohn we encounter a not extraordinary talent, on whose products we perhaps will glance over with expectation, even though our hopes of the pursuit of originality are confounded. - The greatest praise is due to the director Kittl and his pupils for the playing [of the orchestra]. The auditorium was not wanting for applause and vociferous calls.’

The German-language periodical Politik 17/3/1863 published a review, signed ‘M.’, of this concert, remarking: ‘Music. In its second concert of orchestral works two days ago the Conservatory of Music brought us the Symphony in E [major] of W.H. Veit and a new Concert Overture by Jadassohn. The symphony, the only one so far written by our brilliant compatriot, is much remembered by our musicians ever since its first performances here a few years ago; once again the fresh and inspired composition brought, through a noble and telling performance, a fond reminiscence of the loveable artistic personality of its most respected author. The overture by Jadassohn, whose compositional talent is known to us from his two symphonies, performed for us by the Society of St Cecilia, is written with the skill of the practical musician; yet only in its rhythmic content does it offer anything of originality. Both pieces were performed finely by the young orchestra under the direction of the Director [of the Conservatory] Mr Kittl. The most distinguished of the solo pieces was this time that of the opera pupil Miss Math. Zavrtal [Zavrtalová], who performed Clara’s aria „O schweige, Sturm im Herzen“ from Füchs’ opera „Guttenberg“ admirably. The young singer possesses, together with an imposing and appealing exterior, a powerful and sonorous mezzo-soprano voice, whose volubility and technical training are already worthy of note; her singing shows sensitivity and appropriate understanding, and effect, thanks to the correct allocation of power, in the appropriate degree according to the dynamic markings. The young lady may expect a blossoming future in the sphere of dramatic singing. The instrumental items consisted of a Divertimento for double bass, played by F. Kratochvík, and a Concertino for oboe performed by F. Bayer; both pupils excelled in their proficiency, and the only fault was that the compositions they performed were too insignificant by far, and seemed in the orchestral accompaniments not to have been carefully rehearsed. All soloists (accepted [into the Conservatory] in 1858) were distinguished by the large audience with recalls.’

A review of this event was published by Lumír 19/3/1863. The correspondent reported that the: ‘Second concert of the Conservatory [Druhý koncert konservatoria] took place on 15th March in Žofín Hall to quite a respectable outward success although the compositions, with the exception of the first part [of the concert] which was filled by the inspired Symphony in E minor by V.H. Veit, were all poor in terms of their worth.’ The chosen works for solo (concertante) instruments that were ‘forced upon the audience’ in a programme comprising many numbers, were thought to be empty and superficial. However, the critic lavished praise upon the opening work, reporting: ‘As already said, performed in the first part and well-known to Praguers from the time of the activities of Škroup, was the symphony of Veit. This compositions has many subtle [něžný – lit. subtle, sweet, tender] ideas, which are greatly realised from a profound performance. In this respect, the performance of the pupils of the institute was not as good as it deserved to be. Although the young orchestra played correctly, a more assiduous detailed rehearsal would have brought out the nuance of individual movements. In the second part [of the concert] F. Kratochvíl (accepted [into the Conservatory] in 1858) performed the trivial – for the soloist quite difficult and for the instrument excessive – „Divertimento“ for double bass by Prof. Hraběte [Hrabě]. This young student played from the beginning with stage-fright [s trémou] and an overly-careful bowing, so that many-a wrong note resounded, eventually he recovered to demonstrate a quite strong sound, a remarkable technique, a clean tone and well-considered performance. The audience applauded his playing after each movement and at the end recalled him thrice. We should also mention with praise Miss Zavrtalová, who sang a feeble [chatrný] aria from Füchs’s once favourite opera „Guttenberg“. This aria presented her with the opportunity to deploy her agreeable, strong and voluminous voice and her dramatic abilities on stage. Miss Zavrtalová performed the aria with fire and with a precise, clean intonation, only in some places giving inappropriate expression to some words. Her vocalisation also did not satisfy us. We do not attribute this fault to her, but to the professor of song G. Gordigiani who cares little to remedy her singing of these two defects. If we point out too that Miss Zavrtalová is a great and pleasant personality and one of the most assisuous of pupils, we can prophesize her success in the path of dramatic art. She also gained vociferous and long-lasting applause. The third soloist was F. Bayer, accepted [into the Conservatory] in the same year as the other pupils. He performed the worthless, made up of sugary-themes „Concertino“ for oboe by Voigt. The painfully difficult [namáhavý] solo was for this delicate [útlý – tender, delicate] pupil was too difficult, and he struggled to meet the requirements of the piece not only in technique but in its other demands. The new „concertní ouvertura“ [Concert overture] by Jadassohn concluded the concert. About this composition holds true in full measure the saying: „Mnoho křiku – little waves“ [lit. much hullabaloo, little waves]. The attendance was more numerous than in the first concert.’

The Czech-language newspaper Národní listy 19/3/1863 published a seemingly curt review, signed ‘ilz’, of this concert. The correspondent noted that the: ‘Second concert of the Prague Music Conservatory, which took place on Sunday at noon, proved consistently conservative in performance, in its arrangement and in its administration. The performances of such lively precision testify to the good discipline of members of the orchestra, – the arrangements are always the same, wherein there follows after some symphony some kind of instrumental and vocal soli with accompanying orchestra. The consistency in administration is to be seen in this: that still programmes are yet to be published in Czech. In this second concert we heard Veit’s Symphony in E minor, about which we have previously reflected upon, and an Overture by Jodassohn [Jadassohn]. Of the students, there played with good success Fr. Kratochvíl (violin) and F. Bayer (oboe). Of opera pupils appeared Mat. Zavrtalová.’