The dates of the events comprising this series of ‘Musical Garlands’ were advertised well in advance by two daily German Prague newspapers. Prager Morgenpost 10/10/1858 published an advertisement noting that this year’s series of ‘musikalisches Kränchen’ [Musical Garlands] were to be held in the Konvikt Hall on the Saturdays of 16, 23, 30 October, 6, 13, 20, 27 November and 4, 11 and 18 December. Prager Zeitung 10/10/1858 published the same information but in a different wording as an item of news in the section Prager und Provinzial-Nachrichten. The Tageskalender published in Bohemia 30/10/58 noted only the venue, date and time of the production, and that participating was [Jan] Weber’s ‘Concert Orchestra’. Weber’s private orchestra was variously referred to by contemporary sources as ‘Weber’s Orchestra’, his ‘Salon Orchestra’ or his ‘Concert Orchestra’. However, unlike the separate private orchestras of Karel Komzák which were referred to - albeit not always consistently - by different names and therefore without a full source description it is not always possible to identify which was playing in a particular event, Weber only had one single ensemble.

Specific information about the programme of this particular ‘musical garland’ entertainment was published by Morgenpost 29/10/1858. This listed the works to be performed as well as the specific participants. The production was notable for the appearance of Joseph Weber, the 4-year old son of the bandmaster and violinist Jan Weber, and of the blind pianist Nejedlý, a pupil at the Music Institute of Bedřich Šimák. An advertisment appearing in Morgenpost 30/10/1858 on the day of the event noted that the participats would also include the violinists Misses Aloisia Kraus [Aloisie Krausová] and Barbara Tausch [Tauschová]. Admission to the event cost 12kr.

The Prager Morgenpost 29/10/1858 listing of the works performed specified a ‘Moresko’ by ‘Veith’. This certainly constitutes the Mauresque Op.27 by W.H. Veit. The rôle of Weber’s orchestra in the event cannot be ascertained from the programme listed in this source. Popular dances may well have been performed by the ensemble following the listed programme, as was a common occurrence following such popular social musical events. Another possibility is that Kalivoda’s Rondo was given with orchestral accompaniment. Notably, no pianist was specified as accompanying the two lady violinists, while a pianist was listed for the Fantasie by Bériot and Benedict.