• Estates Theatre orchestra: participating orchestra

This concert was first reported by Dalibor 9/12/1858 as to be taking place on 17/12/1858. However, according to the four reviews of the concert published by Prager Morgenpost and Bohemia 17/12/1858, and by Dalibor and Lumír 23/12/1858, this event actually occurred on 16/12/1858. This was confirmed too by the theatre bill appearing in Bohemia 16/12/1858 listing the concert programme, and by the theatre advertisement published the same day in Prager Morgenpost. The programme is reproduced here in order corresponding with that of the theatre bill and of the newspaper advertisements. The musical performance was followed by a production of the one-act play Der Kopist.

A review of this concert, signed ‘V.’ appeared in Bohemia 17/12/1858. This began by remarking how Frau Josephine Teinzmann had begun her pianistic career beyond the borders of her homeland [Bohemia], and had received very favourable approbation ‘in the north’. Her concert in the Estates Theatre obtained a ‘successful result. In particular it seemed that the singularly poetic number by Chopin suited this dainty [anmuthigen] virtuoso, in Krakowiak she showed an able technique and in many moments of this noble rondo a certain spiritedness in perception and execution.’ The critic then praised her performance of the sonata by Beethoven, ‘especially the first half with characteristic expression’, and of Liszt’s Polonaise, a composition not only ‘rich in ingenious moments’ but also in the ‘extravagent quirks... [of] a rhapsodic fantasy.’ After each piece Mrs Teinzmann was recalled to the stage. No specific comment was made about the singing of Bachmann and Miss Tipka, although the review noted that they also were recalled. The concert was preceded by a performance of the play Der Copist, in which Hassel took the title rôle and which included too the actress Miss Rudloff [Rudloffová].

The Prager Morgenpost 17/12/1858 review, signed ‘R.’, was preceded by comments on the nature of the pianoforte in contemporary society as an instrument unique in being the focus of the musical dilettante. Perceptively the author noted that the instrument relative to ‘the soul of music, the expressive song, is a failure.’ Such is the character of the piano that agility and technique becomes a predominant issue, with pianists struggling to overcome ‘intricate obstacles’. The text was less favourable in its summation of Mrs Teinzmann’s performance. ‘She proved herself to be not a minor virtuoso; her playing is excellent through its free agility and ease, however her technique still lacks consumate polish.’ In Chopin’s ‘demanding and not even very grateful composition’ errors were ‘distinctly prominent.’ Her performance from memory of Beethoven’s Sonata and Liszt’s Polonaise demonstrated ‘accurate study’ and merited appreciation. Of the other numbers of the concert the critic noted that Bachmann ‘very nicely performed’ the song by Schubert, and was joined in the duet from Hans Heiling by Tipka [Tipková]. Beginning the concert was Spontini’s Overture but no comment was made concerning the performance of this work.

The unsigned Dalibor review noted that ‘[Mrs Teinzmannová] played [. . .] Krakowiak [. . .] quite tastefully, she overcame all the difficulties of the composition, as it were, with masculine bravura, however towards the end she grew more feeble, not performing passages so faultlessly as we expected.’ Her performance of the Adagio from Beethoven’s C-sharp minor Sonata was considered sensitive, but in the third movement the Dalibor critic remarked that ‘already from the opening the strength of her hand weakened, so that principal passages did not emerge clearly into the light.’ She performed Liszt’s Polonaise ‘with great dexterity.’ The Dalibor 9/12/1858 report noted that Mrs Teinzmannová, a pupil of Alexander Dreyschock, had with great success given concerts in Athens, Weimar and St Petersburg.

The Lumír 23/12/58 review of this performance was combined with a critique of the concert given three days later in the Konvikt hall by Vilemína Čermáková. ‘In quick succession we heard for the first time two Czech pianists, Mrs Teinzmann-Elmenová [Teinzmann-Hniličková], who has already given many concerts abroad with approbation, and in Constantinople not only appeared in public but also played in the harem, and Miss Vilemína Čermáková, who hitherto had experimented only with one excursion to the Czech spa towns... In Mrs Teinzmannová, trained if we are not mistaken according to the old school of [Josef] Prokš, the audience was acquainted at her concert on 16th December in the Estates Theatre, that evening not very full, with a pianist [who is] very proficient and solid, but not too outstanding.’ The critic then commented more favourably about Miss Čermáková, considering that she was a more accomplished and skilled pianist, noting that the Konvikt Hall was full and remarking that he could not remember a more successful debut by a native artist.