• Piano Institute of Václav Stára: participating institution

The unsigned Národní listy 20/7/1862 review commented that these examinations testified to Stára being a ‘practical, expert and prudent teacher and director. His educational method is founded upon long years of experience and yields good fruit; [he] is equally just with both nationalities, and he illustrated by means of an excellent choice of pieces, that we do not have to buy whatever wretched trash comes of out Germany, since we have an abundance of successful native compositions.’ All the programme numbers were ‘performed very well’ and were received with ‘much applause. Of all the pupils Miss Summová seemed to us to be the most talented, after her Miss Chevalírová [Chevallierová], Severová, Otčinková, Schwarzová, then Mr Čížek, Karner, Lederer, Vacek, etc.’ The review related that the institute now had more than 100 pupils, and remarked that the entrance tickets and the programmes to the examinations were printed in both Czech and German.

A more extensive Dalibor 1/8/1862 review, signed ‘rs-’, echoed the positive views and sentiments of the Národní listy critic concerning the success of the production, the effectiveness of Stára’s teaching method, and his ‘prudence’ in programming a large proportion of works by Czech composers. The event was noted to have attracted a substantial audeince. The Czech compositions performed were listed by the review, the critic noting that they ‘all received great applause; however, the most favoured were „Sentinelle“ for two pianos by J.V. Voříšek; the delightful Mignon by Kaván; the playful scherzo by Jos. Förster; the spirited Fantasie „České perle“ by Nápravník and the Souvenir... by Graf.’ Of the soloists, most distinguished was deemed to have been Miss Summová, then Miss Chevalírová [Chevallierová], Otčínková, Severová, Schwarzová, Franková, Heinsohnová. Of the male pupils of the school, Messrs Karner, Čížek, Lederer and Vacek excelled, their ‘accurate’ performance gaining ‘abundant applause. Also deserving mention were Miss Freyová, Freundová, Mr Schwab, Formánek, Mareš etc.’ The ensemble works were played with ‘all possible accuracy and fluency.’ The institute was noted to have around 120 pupils.

Although the principal German-language newspapers Bohemia and Prager Zeitung did not cover this event, a unsigned review was published by Prager Morgenpost on 22/7/1862. The correspondent reported: ‘Examination-production in the Music Institute of Mr Wenzel Stára [Václav Stára]. The tastefully assembled programme comprised compositions of classical and modern ethos, most of which were played by ear by the pupils with accuracy and true appreciation. Particularly notable were Misses K. Simm and K. Sewera. The first gave a duo upon Meyerbeer’s Huguenotten [Les Huguenots] with Mr Brückner. Their brilliant playing together with the splendid performances of their partners comprised the most beautiful ensemble. Of solo pieces performed were Hämpel’s Rhapsodie, given at the most rapid tempo, the exquisitely beautiful middle movement with an elastic touch, which is surely the result of the most excellent schooling. Moreover the same played Graf’s Souvenir de Bohéme (with a part for the left hand solo), with great bravura and surety. Miss Sewera  played a Duo by Mendelssohn with taste and Napravnik’s Fantasie with brilliant success. We also heard Kuhe’s Fantasie on Martha, which was performed by Miss von Otschinek; of the same standard were Misses Frank, Chavallier and Schwarz, not to mention Messrs Karner, Czižek and Leder, the first playing first a Trio by Bargiel and Thalberg’s Don-Juan-Fantasie in rousing fashion.’ Exactly which players performed in Bargiel’s Trio, Misses Frank, Chevallier and Schwarz or the three men is not clear from the review text.

Brief comment about these examinations was published in Lumír 7/8/1862 in a review covering similar events in Prague music teaching institutes over the summer months. The correspondent noted that insufficient space was available in Lumír to report in detail upon all such events. However, the critic reported that examinations in all piano institutes had been ‘for the most part good, in some places even excellent... [pupils demonstrated] their technique, their clean touch, able performance and other good qualities, which is of great credit to the directors and teachers of their institute. Particular praise deserve the pupils of the institute of Mr Stára, who performed as solos and in ensembles many compositions by Czech composers.’ 

The examination performances were given over two days on 16/7/1862 and 17/7/1862. Which works were performed on which of the two days was not made clear by the periodical reports covering this event. The lack of coverage by leading German-language sources was notable given that Stára’s school was one of the most popular and successful private music institutes in Prague at this time.