This concert was first announced in Czech-language periodicals by Národní listy 31/12/1861 in a brief report noting that ‘Our renowned composer and pianist Mr B. Smetana, who has already in the country [countryside] won a great name for himself, arranges on Sunday 5th January a very interesting concert that will for the most part contain his own compositions.’ The report published by Národní listy 3/1/1862 related that the violinist and Conservatory Professor Mořic Mildner had promised to participate in this concert, although Mildner’s name did not appear in the unsigned Dalibor 10/1/1862 review.

Richard III. and Valdštýnův tábor (Wallenstein’s camp) were almost certainly directed by Smetana. The Concert study Am Seegestaade - eine Errinerung was identified by Národní listy 3/1/1862 as ‘Vzpomínka na Švedy’ (Reminiscence of Sweden). The programme is reproduced in order corresponding with the Národní listy 3/1/1862 report. The Dalibor 10/1/1862 review remarked that the concert did not obtain an audience of the number that the occasion merited.

A lengthy, unsigned review of this concert was published in the German-language newspaper Prager Zeitung on 8/1/1862. This began by commenting upon how this event provided a brilliant start to the pre-carnival concert season through not only the choice of pieces but also through its excellent execution. Most interesting was considered the return of a ‘musical notability of Prague [eine musikalische Notabilität Prags]’ who had passed the previous year in northern Europe. ‘Friedrich Smetana, who arranged the Sunday concert, presented himself as composer, conductor and pianist to a number of listeners who filled the small room of the Konvikt Hall. The spirit which wafts through both of his fantasies for large orchestra to Shakespeare’s tragedy Richard III and to Schiller’s Wallensteins Lager shows that the artist in his absence across the Baltic Sea was by no means estranged to the most avant-garde currents at the limits of musical art.’ The critic found the style and aesthetic of the two works difficult, particularly in terms of their formal construction and the seeming ‘quodlibet’ of juxtaposed themes. Without setting words the expression of the subject it was felt could not be achieved. Stylistic parallels were drawn with the Liszt and Wagner. Smetana was then praised more as a pianist, the correspondent remarking how he his playing remained faithful to the wishes of the composer with ‘old classical works not being libelled through modern styles of performance. We had not for a long time heard Beethoven’s Concerto in C minor in such a perfect performance as this. His [Smetana’s] taste was manifest in the great cadenza, by the concert-giver himself, with its ingenious recapitulation and skillful weaving of the main theme. Besides this [work] there was in the programme the Allemande and Gigue by J. Händl [G. Handel], then Chopin’s B minor Mazurka, and with it... Liszt’s Rigoletto Fantasie. Of his own compositions Smetana played Souvenir de Suède, Au bord de la mère (the latter confused the audience being spelt in the programme “mer”), and the Souvenir de Bohème, the last of which was rhythmically much in the manner of a Hungarian song.’ The performances of Miss Mik [Miková] of three songs from Frauenliebe und -leben by Schumann were noted, and by Lukes of the songs by Tomášek and Procházka. Attendance of the concert was noted to have been compromised by the poor weather.

A review, signed ‘a-a’, of this concert was published by Lumír 9/2/1861. The correspondent reported that ‘On 5th January in the Žofín Hall the concert that took place of our countryman Bedřich Smetana obtained from a not very numerous audience great approbation. The concertgiver proved testified to being an excellent pianist and a happy interpreter of the compositions of Beethoven, Haendl [Handel] and Chopin. His exquisite technique was displayed most of all in a difficult composition by Liszt. Filled with great feeling he performed the compositions “Souvenir de Svede” and “Souvenír de Boheme”. Of his own compositons we heard two: “Richard III” and “Valdštejnovo ležení”, both fantasies for orchestra. In these the composer showed his own talented, characteristic thoughts, his knowledge of theory and orchestration; we could only have a single criticism that he kept close to the infelicitous music of Liszt and worked to the detriment of his own talent in [Liszt’s] style. These compositions, although very skillfully worked, were not as successful as their value would warrant because of the Lisztian style of music, which does not find favour with our public. Besides the concert-giver very kindly participating were Miss Miková and Mr Lukes, and they both received great applause. Our patriotic singer Mr Lukes very delectably sang Procházka’s song “Pravý Čech” with particular success and was greatly appreciated. The concertgiver very accurately condicted the orchestra and at the end was curtain called many times.’

Bohemia 3/1/1862 published news that ‘Mr Friedrich Smetana has arranged a concert for the day after tomorrow at 12 noon in the Žofín Hall. In this there will also participate besides the concert giver Miss Mick [Miková] and Mr Lukes. Mr Smetana brings two new Fantasies for large orchestra for performance, Richard III and Wallenstein’s Camp.’ No further details were given by this source.