Of the performance of the symphony, the critic reported that the fourth movement was encored, and continued: ‘I should give due acclaim to the truly extraordinary playing of our orchestra: and praise every individual artist from the first violins to the “Jupiter tremens”.’ The conductor Škroup was noted to have been curtain-called four times. ‘No less exquisite was the performance of the first item, “Ouverture zum Märchen von der schönen Melusine”.’ In this ‘magical, beautiful composition’ that was observed to contain many opportunities for delicate instrumental effect and carefully nuanced playing, particularly in the wind parts, that the orchestra satisfied the demands of the composer was reflected in vociferous calls for the work to be repeated. Unusually for a general review of an orchestral performance, the correspondent named the principal woodwind players, the clarinetist Pisařowic [Pisařovic], oboist Bauer and flautist Müller, remarking too that such excellent players could not even be found in the ‘brilliantly endowed Court orchestra [Hofkapelle].’ The brass too were praised for their ‘magnificent performance’ throughout the evening, in a variety of ‘nuance from fortissimo through to the gentlest piano’ and in particular in their ‘masterly execution of Berlioz’s [instrumental] combinations of gorgeously peachy effect.’ The correspondent expressed his desire to include more detail about the performances of specific players, but felt that such description was out of place in this article and was determined that the review text should remain purely objective.

The solo item in the programme, the ‘highly interesting composition from the seventeenth century’ Pietà Signore, identified [incorrectly] as being by Stradella, had been described in detail by the correspondent in the first of his articles covering this series of ‘Concerts spirituels’. The performance of this ‘simply sublime, introvert, chaste-sounding composition from a wonderful, particularly Catholic period in art’ by the ‘splendid’ Fehringer was above criticism and ‘sublime’, sung with a simplicity of style, Catholic fervour and piety adjuged to have been intended by the composer.

Finally, the Bohemia critic expressed the wish that similar musical productions given in the concert hall or in the theatre could be of equal substance and be received with similar, almost absolute approval as were these ‘Concerts spirituels’. To praise a concert with a clear conscience was deemed to be much more pleasant than having to point out mistakes and faults, and the correspondent hoped that the involuntarily exalted tone of his review would not be considered false.

This pioneering series of public orchestral concerts given by the Estates Theatre was not continued the following year. Bohemia 25/2/1851 published a report that although the 1850 series of concerts had been greatly welcomed by all ‘friends of higher music’, further concerts would not be given during the1851 season. This was despite a venue already having been engaged, programmes decided and other preparations made. The reason was noted to be the demands of daily rehearsals for theatre performances, the double [Czech and German] productions given on Sundays, and instrumentalists having teaching commitments.