• Prague Men's Singing Society [Prager Männergesangsverein]: participating institution, vv
• Flöte: participating institution, vv
• Arion: participating institution, vv
• Aëde: participating institution, vv
• Hlahol: participating institution, male vv

The German-language newspaper Prager Morgenpost 25/6/1863 published advance news of this event in an extended report titled ‘Johann Dismas Zelenka’s Compositions [Johann Dismas Zelenkas Compositionen’. The performance of works by this earlier native composer obviously constituted noteworthy news; the article included a substantial outline of the composer and his output. The correspondent reported: ‘Johann Dismas Zelenka’s Compositions. As we have already previously disclosed, there will take place in the New Town Theatre on 30th of June a musical-dramatic Academy [musikalisch-dramatischen Academie], the profit from which, in conjunction with a Lottery of Effects [Effektenlotterie – possibly a charity sale of goods and merchandise], is destined for the Support of the Poor Inhabitants of the Oře and Krkonoše Mountains, in which an Orchestral Suite (Overture [Ouvertoure], Aria, Menuetto I and II, Siciliano and Folio) by the Bohemian composer Johann Dismas Zelenka (b.1681, d.1745) will be performed. Many will, at this opportunity, hear the name of this tone-poet for the first time... one of the greatest musicians that Bohemia has created. We wonder why he is so little known? The chief cause of this lies in the fact that Zelenka almost exclusively composed for the Court ensemble of the King of Saxony, in which he was employed as double bass player and church composer...’

The novelty of the event containing a work by Zelenka inspired the correspondent (signed ‘M.’) of the Prague German-language newspaper Politik to contribute a report to the issue of that newspaper dated 19/6/1863. This related: ‘Musical and dramatic Academy. This takes place on the 30th of this month in the New Town Theatre for the benefit of the needy of the Erz and Krkonoše Mountains. The programme contains a remarkable orchestral suite, composed in 1723, for 2 violins, viola, 2 oboes, bassoon, ’cello and bass by our compatriot Johann Dismas Zelenka, that was first performed on 9th March of last year at the fifth performance evening of the Society of Musicians [Tonkunstlerverein] of Dresden; we drew brief attention to that performance in this paper at the time. Thanks are due to the secretary of the Chamber of Commerce, Dr Schebel, for making possible the second performance of this work in Prague. Zelenka, born in 1681 in Lounovic in Bohemia, received his education at the Jesuit college in Prague. In 1710 he went to Dresden as a contrabass player in the Royal Polish and Electoral Saxony Kapelle and soon showed an aspiration that was to take him far beyond the narrow bounds of his position. In early 1716, with the King’s permission Z. went to Vienna to study with the renowned Imperial Kapellmeister Fux. Soon afterwards he received the command to join his colleagues who had been ordered to set out for Venice to perform with the chamber musicians of the elector’s heir, Friedrich August, who at that time was staying in the city of the Doge. While in Venice Zelenka took advantage of lessons with the brilliant Antonio Lotti and in January 1717 returned to Vienna to continue the studies he had begun with Fux. He returned to Dresden in 1718, where he supported the Kapellmeisters Schmidt and Heinichen in the church services until finally in 1735 he was nominated the royal church composer; he died in this position on 23 December 1745. Zelenka won a high level of recognition from his contemporaries. Many of these indeed made that recognition explicit. Similarly, later connoisseurs of art such as Abt Gerbert, Fasch, Rochlitz and others depict him as an excellent church composer. In more recent times Fürstenau wrote more extensively about this master, whose compositions have been forgotten almost entirely for more than 100 years, in the second part of his book  „Zur Geschichte der Musik und des Theaters am Hofe zu Dresden“ [A History of Music and Theatre in the Court at Dresden]. His entire output is owned by the music publisher of the Catholic Hofkirche in Dresden. This includes 15 Masses, 3 Requiems, 2 Te Deums, 2 Misereres, 6 Litanies, 86 Psalms, hymns etc, 3 oratorios, one melodrama etc. His most significant work is the collection of four-part responses that he composed for Holy Week; this has secured him a high rank among the Catholic composers in the stricter style of the 18th century.

Zelenka’s instrumental compositions have been entirely unknown up to now; they were only discovered in Dresden in recent years. In them the composer seems to be hurrying decisively ahead of his time, one in which freestanding instrumental music had yet to pass through its early stages of development; this is most noticeable in his unusually free harmonic and melodic motions. Only Bach and Händel exceed Zelenka in this regard.

The other numbers of the Akademie are: a Prologue by B. Hansgirg, spoken by Miss Gebhardt, the Hymn by the Duke von Koburg, a Bohemian chorus by Veit sung by members of the Männergesangverein [Prague Men’s Choral Society], the Aede [Singing Society Aëde] and Arion and other choirs, a big aria with orchestral accompaniment performed by Mr Rokytanský, the first finale from Mozart’s „Titus“ [La Clemenza di Tito] (in costume) and the farce „777“ by Lebrun, with Miss Raabe, Mrs Szegöffy and Messrs Oberländer, Haffel and Sauer.’

A substantial review, signed ‘-ý.’, also appeared in Prager Morgenpost 2/7/1863. The correspondent remarked: ‘Concert. The musical and declamatory Academy that took place yesterday in the New Town Theatre, whose entire net income, along with that of the lottery drawn at the same time, was dedicated to furthering the income-earning activities of the inhabitants of the Oře and Krkonoš Mountains, offered a programme that was both rich and interesting. The proceedings kicked off with the suite in five movements by the (sadly) all but unknown composer Zelenka, of whose great importance in musical literature enough has already recently been written in our local papers. It is this composition, executed in the manner of the strict compositional style of the time, one of those remarkable manifestations of prowess, which could afford that sublime simplicity in which the real full beauty of such an artistic creation consists, which attracts the entire objective interest, and for precisely this reason makes a powerful impression even on the laity, such as even here the true criterion for the musical value of this work, remarkable among its kind, must apply. The themes, in their beauty, their unique harmonic energy, and in their effective contrasts, first inspire the listener’s attention, which is stimulated still further by the effects of a brilliant development of those same themes, and then finally, at the climax, is carried away by the grand total impression offered by the aesthetic that is sustained throughout the entire composition, here formed into the most beautiful artistic form. Specifically, one encounters the style of Handel in this composition, in which there is more to note than a large, brilliant conception, as perhaps some might think, or as a product that stems from deep and absolute study. Its melodies, the real kernel of the whole, have their own momentousness; they sharpen our interest and grip, without the need to astonish with rousing force. One sees a general idea, a unifying thread, that the composer consciously applied to all five parts. It can be clearly seen from the execution of his ideas and their technical handling that in this regard Zelenka followed a path upon which all his contemporaries, and even more so his predecessors, strolled: the way of the period of imitation. It may be sound advice for the specialist musical press to review this composition of such a noble and gifted artistic nature in as much detail as possible: for my part, I cannot do anything within my limited circle of activity other than to praise publicly this suite as a work that can claim unconditional attention, and wherever the opportunity may arise, will earn full recognition.

A curious contradiction to this musical genre appeared in the form of a new overture by Rubinstein, heard here for the first time, which ended the concert. Its broad, bright fabric, which does not suffer from overloading or excessive arousal of sickly emotions, stands as a self-contained and well-rounded piece of music that presents itself well. Already one notices in the composer, as generally in his latest works, that he has raised himself to such heights of characterful truth and artistic self-sufficiency without having lingered even a moment longer than was absolutely necessary in the period of transition [suggesting, perhaps, that Rubinstein’s style of writing was becoming more concise and less padded]. A welcome addition to the concert was a Hymn for male voices with brass accompaniment by His Highness Ernst, Duke of Saxe-Coburg Gotha, a most ingenious composition, and a chorus by Veith [Veit], Na Prahu, conducted by Mr Tauwitz, who on this occasion was presented with a laurel wreath, in which the „Aëde“, „Arion“ and „Flöte“ choral societies, together with many members of „Hlahol“, participated to admirable effect. The last verse of the Hymn, and likewise the end of the chorus, had to be repeated. Two particularly welcome appearances were our guest, currently residing here, Mrs Harriers-Wippen, who sang Rhezia’s big aria from Weber’s „Oberon“ [Rezia: aria ‘Ozean, der Ungeheuer!’] with full virtuosity and freshly-pulsing life; and Mr Rokitanský [Rokytanský], who aroused the public’s enthusiasm with an aria con coro from Rossini’s „Semiramide“, sung with Italian text most beautifully and entirely in accordance with the composer’s intentions. Both arias were sung in costume. The orchestral pieces were performed with the greatest precision. Kapellmeister Jahn directed the latter with his usual circumspection and energy. Finally, Miss Gebhardt must be mentioned, who has come here from Hanover and who declaimed a poem by Victor Hansgirg that cleverly pointed to the poverty of the inhabitants of the Oře Mountains. The drawing of the lottery, whose presiding official was no longer present, took place before the Overture already mentioned and also the one-act farce „Nummer 177“. The Academy, which lasted over three hours, had only a middling attendance.’

A report was published in the daily news section of Prager Morgenpost 2/7/1863 relating news of this Academy and, specifically, the participation of Eduard Tauwitz. The source related: ‘Ovation. Mr Tauwitz, under whose leadership the choirs were performing in the Academie that took place the day before yesterday, in which local singing societies united in fine fashion, not only gained the most animated greeting, but received too a well-merited ovation. The „Prager Männergesangverein“ [Prague Men’s Singing Society], the societies „Flöte“, „Arion“ and „Aëde“ presented him with a laurel wreath adorned with the German and the national colours, the members speaking among themselves of their satisfaction in assembling under his direction.’

Several aspects of this concert and its programme are particularly noteworthy. From a historical perspective, the performance of the orchestral work by Zelenka provides a fascinating reflection of the growing interest in Prague during the middle years of the 1860s in the performance of historical music from the Baroque and earlier years. From a national perspective the content of the programme sat intriguingly between the camps of Germanic and Czech orientation; besides Veit’s Na Prahu – which would become the most performed and one of the most iconically patriotic Czech choruses of the century – was a German choral Hymn by Ernst II Duke of Saxe-Coburg Gotha, one of the key political and state leaders for German unification. Performing alongside the vehemently Germanic choral society Flöte were ‘many members’ of the conversely patriotically Czech-orientated Hlahol. In many respects the event represented a remarkable synthesis of many of the opposite currents national/patriotic currents crystalising out in the Prague musical environment of the 1860s. Finally, the performance of the final act from La Clemenza di Tito was extraordinary for a Prague concert of this date for being given in costume.