• Cecilia Society: participating institution, chorus, orch
• APT, Antonín: director of institute, conductor

According to both the brief Prager Morgenpost 9/1/1859 and Dalibor 10/1/1859 announcements of this concert, this programme had been specially chosen to celebrate the fiftieth anniversary of Mendelssohn’s birth. The programme was given in full by reports appearing in Dalibor 10/1/1859 and Prager Morgenpost 1 /2/1859. On 2/2/1859 the latter also published news that because the opera Die Sicilianische Vesper [Il vespri Siciliani] was being given in the Estates Theatre on the same evening, the Cecilia Society concert would begin at 3.30pm. Previous reports had stated the concert began at 4pm.

The detailed Dalibor 10/2/59 review enthused about this concert in which it noted that aside from piano works and chamber works, all types of composition from Mendelssohn’s output were represented. Particular impression was made upon the audience by a bust of the composer that was mounted before the podium and draped with a floral wreath. Beginning the concert was the ‘really powerful ... Svatební pochod [Wedding March] from the work Sommernachtstraum [the combination of Czech and German titles here was given by the source], in which the large orchestra [‘silně obsazený orchestr’ lit. strongly made-up orchestra] energetically, surely and fierily participated.’ This was followed by a speech given by Josef Bayer, which was well-received. The extracts from the unfinished oratorio Christus especially captured the attention of the audience; the highlights of this work were considered to be the terzetto „Wir haben einen Stern gesehen“ and the two choruses „Kreuzige ihn“ and „Hinweg mit diesem“ whose ‘characteristic, expressive’ music inspired everyone. In the Symphony no.1 in C minor, which closed the first part of the concert, ‘the youthful energy and imagination of the famous composer bubbles over, and excells with its cyclical, charming form and with beautiful orchestration.’

The review was equally enthusiastic over the second half of the programme containing works of ‘precise style and of choral song’. Particular impression was made upon the audience by the three songs from Heine for soprano, alto, tenor and bass, which ‘Misses Micková [Miková], Schmidová as well as two members of the [Cecilia] society so beautifully performed, that on general  wish had to be repeated. A very dignified end to the concert was the imposing Psalm 114 for 8-voice chorus and orchestra... in which the genius of Mendelssohn is evidently displayed. The orchestra and chorus performed all of the choruses irreproachably, precisely, and some of them excellently.’ The review concluded with praise for the ‘excellent’ director of the concert, Apt, ‘who with this festival again added another leaf into the garland of his services to music.’