• Society of Musical Artists: organizing institution
• Cecilia Society: participating institution, chorus, orch
• Estates Theatre chorus: participating ensemble, chorus
• Estates Theatre orchestra: participating orchestra, orch
• Prague Men's Singing Society [Prager Männergesangsverein]: participating institution, chorus
• Žofín Academy: participating institution, chorus, orch
• unspecified amateurs: participating ensemble, chorus, orch
• unspecified choristers from Prague churches: participating ensemble, chorus

 The intention of the Society of Musical Artists to perform Samson during the 1859 season was first reported in the Czech press by Dalibor 28/10/1858, and in German sources by Bohemia and Morgenpost on 23/10/1858. According to each of these texts the work was to be given to mark the 100th anniversary of Handel’s death.

Before the day of the performance news of the event appeared in Prager Zeitung 15/4/1859 and Bohemia 17/4/1859, although nothing was published by the Czech music periodical Dalibor or by the newspaper Prager Morgenpost. Both of the former texts noted that the work was being given to mark the 100th anniversary of Handel’s death, and listed the solo singers. Bohemia 17/4/1859 also noted that before the performance a prologue written by Josef Bayer would be given by the actor Mr Fischer. The same newspaper published a theatre bill notice of the performance on 18/4/1859 specifying the rôles taken by the solo singers. Also noted was that the oratorio was being given with orchestration by I.F. Mosel. This was an edition published (Vienna: Mechetti, c.1818).

The review published by Dalibor 20/4/1859 noted that participating in the concert were members of the Žofín Academy, of the Cecilia Society, pupils of the Conservatory, members of the Estates Theatre orchestra, and ‘many amateurs.’ The part of Samson was sung by Eduard Bachmann, Manoah by Albert Eilers, Delilah was sung by Miss Emilie Miková, and ‘Miroha’ [given as ‘Micah’ 18/4/1859 theatre bill] by the Bohemia by Miss Josefa Schmidtová. The performance, directed by František Škroup, was described as being satisfactory. Of the oratorio itself, the critic thought Samson to be most powerful in the choral numbers, and ‘less interesting’ in the arias.