• Estates Theatre orchestra: participating orchestra
• Provisional Theatre orchestra: participating orchestra
• Prague Conservatory: participating orchestra
• WAGNER, Richard: director of ensemble

Národní listy 14/1/1863 published news of the intention of Wagner to give a concert in Prague, reporting: ‘Richard Wagner will be coming in the next days to Prague, in order to arrange here on Sunday 25th January on Žofín a great concert.’ A similar report appeared in the Czech-language arts periodical Lumír 15/1/1863: ‘Richard Wagner wants to arrange on 25th January on Žofín a great concert.’

His arrival in Prague, did not happen until 5/2/1863, being announced by Národní listy 7/2/1863 in a report signed ‘–bl–’ that ‘Richard Wagner, celebrated composer of „Tannhäuser“ and „Lohengrin“ arrived in Prague the evening of the day before yesterday, in order to prepare rehearsals here to his great concert which is set for Sunday. The spur for this concert came from Prague friends of Wagner’s muse, who invited him to personally produce before the Prague music-loving public his musical works that only a short time ago had been performed with marked success in Vienna. A greater part of the numbers of this concert will be new to the Prague public.’ The final pre-concert notice published by Národní listy appeared in the issue of 8/2/186 relating that: ‘In the concert of Rich. Wagner, which takes place today, Mr Berhard will sing instead of the ill Mr Bachmann.’

Prager Morgenpost 26/1/1863, pointedly drawing attention to the accuracy of its reporting over other local newspapers, announced: ‘Richard Wagner’s Concert. From local newspapers news has been forthcoming that the concert Richard Wagner was arranging in Prague will not now be happening, owing to various obstacles. This information is not correct. Richard Wagner will arrange a musical performance here, specifically on 7th February in the Žofín Island Hall. The admission prices amount to 3fl for the Circle, for the Hall 2fl and for the Gallery 1fl.’ Evidently the definitive date of the concert was at this time not certain; the concert eventually occurred on 8/2/1863 in the Žofín Island Hall.

Bohemia 25/1/1863 reported briefly that Wagner’s concert would take place on 7th February. Bohemia 4/2/1863 published further details, ammending the date and noting: ‘(Richard Wagner’s Music performnce) takes place for certain on Sunday 8th February at 12 noon in the Hall of the Žofín Island. The programme is as follows: 1) A Faust Overture [Eine Faust-ouvertüre] 2.a) Entrance of the Meistersingers. b) Pogner’s Address, sung by Mr Rokitansky. 3) Prelude to the „Meistersingers“ 4) Prelude to „Tristan und Isolde“ 5a) Schmelzlied. b) Hämmerlied from the „jungen Siegfried“ [Die Walküre]. 6) Overture to „Tannhäuser“. Richard Wagner’s arrival in Prague is imminent’ [trifft bereits dieser Tage in Prag ein].

The halting and somewhat uncertain preparations for a concert by Wagner in Prague were outlined too by the city’s Czech-language newspaper and periodical sources. An announcement was first published by the principal Czech newspaper Národní listy on 14/1/1863 stating that Richard Wagner would be arriving in Prague during the next few days in order to arrange a concert on 25/1/1863 in the Žofín Hall. The Feuilleton of the following day’s issue of Lumír 15/1/1863 confirmed the Národní listy report, stating that Wagner wished to arrange a concert on 25/1/1863. First-hand evidence from Wagner himself was published in the Czech press in a letter appearing in Dalibor 1/2/1863 and dated ‘Vienna 25th January.’ This indicated that Wagner was seeking to arrange this concert for the earliest possible date in February since afterwards he would be concerned with rehearsals for his new opera, Tristan und Isolde. Thus the Dalibor 1/2/1863 report describing his letter announced his imminent arrival in the Czech capital and gave a date for it, as it turned out erroneously, of 7/2/1863. The day that the concert ultimately took place, 8/2/1863, was first announced by the newspaper Národní listy on 7/2/1863, in a report signed ‘-bl-’ which stated that the concert was ‘fixed for Sunday’, i.e. the following day, as well as noting that the composer had arrived in Prague on the evening of the 5th February in order to direct rehearsals for the event.

Prager Morgenpost published an unsigned review of this concert in its issue dated 9/2/1863. The correspondent wrote: ‘Wagner concert. Richard Wagner’s big concert, whose anticipated occurrence, as is well known, people had begun to doubt, finally took place yesterday in the Hall of the Žofín Island in the presence of a massed, most distinguished audience. The reputation of Wagner’s great genius has done the rounds for years; the result is that of an exceptional phenomenon. For while some people crucify Wagner, others call him the new musical Messiah. This is now, surely, a favourable sign: for this fate always awaited such a genius, who in bold flight outran his time, such as Mozart and Beethoven. Whether, however, the opinion of posterity to Wagner will be the same as those masters is a question that I am not going to attempt to answer, knowing well enough that in judging individuality so rare and particular as we encounter in Wagner, one cannot set about doing so sufficiently carefully. This is all the more pertinent given that – as with every productive spirit – his new [creative] path and legacy has split the musical world into two halves: those who first suspected its true nobleness and greatness and then later recognised, and willingly followed, in its tracks; and those who with firm perseverance, against their better judgement, only recognise as valid that which is old while consistently damning all that is new. – The audience of our old City on the Moldau [Vltava] had already come to accept warmly this great musical reformer through the performance by the Cecilia Society of excerpts – inaugural performances from his operas – from Wagner’s various compositions. Consequently it is easy to perceive how sympathies here for this artist have been founded. – As regards the outward success of this most interesting concert, which deserves to be specially entered into the annals of Prague, I have to acknowledge that it was brilliant, in the truest sense of the word. The inspiration with which Wagner led the undertaking spread to the musicians, who performed superbly. – A truly artistic spirit came upon everybody, and lent the entire performance a certain something that can only be felt, but not described, yet which brings that fortunate element to every artistic performance that never fails to stir. (The orchestra consisted of the members of the Estates Theatres [Czech and German] and the pupils of the Conservatory.) The programme included six items. Three of these were new to us: „Die Versammlung der Meistersingerzunft“, an instrumental piece that directly follows on from the address of „Pogner“ to the gathering (sung here by Mr Rokitansky); the prelude to „Die Meistersinger“ and „Siegmunds Liebesgesang“ from „Die Walküre“, sung here by Mr Bernard. The familiar items were Eine Faust-ouvertüre, with which the concert began; the prelude to Tristan und Isolde and the overture to Tannhäuser, which made a worthy conclusion to the occasion. The Meistersinger prelude and Siegmunds Liebesgesang had to be repeated. At the end of the concert, when the stormy applause seemed not to want to end, Richard Wagner, object of that applause and recipient of a laurel wreath, gave a short speech to the gathering, in which he expressed his feelings of innermost gratitude for the indications of general goodwill and interest that he had received, not only on this occasion but also in earlier performances of his compositions.

Wagner’s end-of-concert speech was quoted in the concert review, signed ‘V.’, that was published by Bohemia 9/2/1863. The correspondent related: ‘Concert R. Wagner. „A friendly exception is Prague, where almost all my works have at once have found indulgent and successful approval, even when we hope for this with confidence it is [when it happens] nevertheless as joyous as it is unexpected; long do we wish fondly for this to remain the city of the first rank where my endeavours are channelled in time to go. I rejoice in seizing the opportunity to offer my thanks personally for so great a mark of gracious recognition.’ These were roughly the words that R. Wagner yesterday offered to the public following the shouts of ‘Hoch’ and ‘Sláva’ by the enthusiastic listeners after the closing number of his concert. Also after this speech the same approbation was repeated and we must confess never to have witnessed such a brilliant, universal and apparent, as well as intensively personal, success of an artist. We were, it is true, totally convinced previously of this in our by no means biased or deliberate prediction [of this success of the concert]; yet we were astonished not only by the loud vehemance of the storm of applause but more the directness and sincerity of the enthusiastic recognition, that we recall as being exceptional for the dramatic works of Wagner under Škraup’s regime [in the Theatre]. All parts of the [Žofín] Island Hall were packed with an audience as splendid as it was numerous, which having already made its sophisticated voice heard at the appearance of the artist, did so too at the joy of his conquering captaincy of the comrades-in-arms, akin to the magnificent welcome given to a good friend. Of the 6 numbers of the programme two were encored – the Prelude to the „Meistersingern“ and „Liebesgesang Sigmund’s“ performed by Mr Bernard; the third new number „Versammlung der Meistersinger“ and the immediately following number combined Pogner’s Address (sung by Mr Rokitansky were received with enthusiastic applause, in these fragments of a new work conceived in so light vein we were acquainted with one of the most attractive, striking compositions of Wagner. The first number of the programme comprised „Eine Faustouverture“ and its brilliant success on this occasion was marked given the controversial subject of difficult polemics inspired by this work [i.e. the aesthetic and stylistic content of the composition]. Also the Prelude to „Tristan und Isolde“ came across under the personal, masterful direction of the composer with much greater credit and better approval than before. The most popular, most vivid [eindringlichste] of Wagner’s works the „Tannhäuserouverture“ provided the conclusion to an in all respects memorable performance yesterday. Of the outward success it is not to be forgotten to be mentioned that in addition to the repeated applause for the celebrated guest, there were also numerous garlands and bouquets, and that it is excellent to stress the particular interest [in the concert through their attendance] of ladies. Also Messrs Rokitansky and Bernard were applauded as soloists.’      

A detailed and equally enthusiastic review, signed ‘M.’, was published by the German-language Prague newspaper Politik 11/2/1863. In similar vein to the Prager Morgenpost review, the critic began with a pointed reference to how the composer had been recognized and understood in Prague before in Austria. The source related: ‘Concert. Richard Wagner’s „Grand Music Performance“ [große Musikaufführung]. It may have been equally desirable for both the best-known opera reformer of recent times and our public to make their mutual acquaintance face to face now that, as is well known, and as Wagner emphasised with gratitude in his speech, his reputation among the trends in which art is now moving has become, in the main, established and accepted from Prague [firstly, and then] to Austria. The exceptional success of the concert given by Richard Wagner here on the 8th of the month in the Hall of the Žofín Island also proved, as one of the rarest occurrences here, the importance of such an encounter. To be sure, among the massed audience there were only a few who were not excited by one or another of the master’s operas that have become so popular here, „Tannhäuser“ or „Lohengrin“ („Rienzi“ and „Der fliegende Holländer“ are not included here since their music is well known), or did not feel a longing to see him at the helm of our excellent Theatre orchestras... in any case all present were stimulated, for one reason or another, to a high level of interest, with as much enthusiasm for the compositions as for the person. The guest, received with thunderous applause lasting several minutes and with [the presentation of] wreaths, began by conducting his „Faust-ouvertüre“. This work, in our view Wagner’s most profound, had never revealed itself so completely as now, [in being] performed under the composer’s direction. New to us was the characteristic orchestral piece, enlivened here with great expression [in performance], „Versammlung der Meistersingerzunft“ [Gathering of the Meistersingers] (with the so rousing main theme, introduced in F major and masterfully developed), then in combination with this, „Pogners Anrede an die Versammlung“ [Pogner’s Address to the Meistersingers] (sung by Mr Rokitansky), – a vocal scene that speaks even to the laity – and also the „Vorspiel zu den Meistersingern“ [Prelude to Die Meistersinger], which, however, seems to us to give a too generous opening for the admittedly only surmised subject matter; and finally „Siegmunds Liebesgesang“ [Siegmund’s Love song] (performed by Mr Bernard and, like the Prelude already mentioned, encored), whose ardency and tenderness of melodic expression remind us somewhat of the bridal duet in „Lohengrin“. The remarks made above in regard to Eine Faust-overtüre concerning the clarity brought about by the composer’s leadership and presence may also be applied to the two instrumental pieces, already known here yet presented differently, namely the prelude to „Tristan und Isolde“ and the overture to „Tannhäuser“, as in these Wagner’s influence as composer and conductor manifested in a truly exciting manner. As we celebrate the exceptional success, in every respect, just won by our venerable guest, who was also able to win the hearts of his audience at the end with his so heartfelt speech, we shall leave aside as inappropriate to the present mood certain reflections on the suitability of performing operatic fragments in the concert hall and his [Wagner’s] maxim, declared before the whole world, about the one-sidedness of instrumental music [bezüglich der Einseitigkeit der Instrumentalmusik], which have arisen here and elsewhere, and we will not discuss them here.’ The final comments referred to aesthetic questions of the time as to whether it was right to perform (obviously out of context) operatic excerpts in concert, and to the opinions of Wagner and like-minded contemporaries as to the development of instrumental music.

The subsequent Lumír 12/2/1863 review of Wagner’s concert, signed ‘a-a’, noted that ‘as to artistic value, this was one of the most magnificent concerts of this year. Not only the artistic programme, which entirely contained the most choice works of this celebrated composer, but also the precise performance, which reached the deepest nuances, testified to the magnificent success of this concert... All six numbers were received with great applause, and the honoured man was not only recalled [by the audience] many times, but also bestowed with wreaths and garlands.’ The review expressed positive support for Wagner and for his modernist musical style, commenting that ‘In each [of these works] we found excellent working, artistically executed principal ideas, characteristic and lively instrumentation, spirit, melodic line in agreement with the text, and great skill in the creation of their forms. Although very much has already been written about the style of Wagner’s music, often bringing about critical dispute, these [disputes] arise from specific parts of his works or from his development of melody; however, no-one can deny the great musical talent and skill which [emanates] from his compositions. Without doubt, R. Wagner obtains for himself great merit in the sphere of music.’ The review concluded by remarking how at the end of the concert Wagner thanked the audience for their heartfelt reception and their applause, a reception that, according to the Lumír critic, testified to the gracious acceptance by the audience of works that were being heard by the Praguers for the first time. Also in this issue of the periodical a report appeared relating that ‘Czech artists’ had sent to Richard Wagner on 9th February a laurel wreath with a Slavonic tricolor and with an enthusiastic inscription emphasizing how the art of Czech nation and that of Wagner as a composer was united: ‘Amongst those who appreciate your art, we Czechs are not the last; although our nations are divided, art unites us.’

Reviews of this event by the Czech-language periodical Dalibor comprised a brief unsigned summary published on 10/2/1863 that related the success of the concert, and a more detailed report, signed ‘Dr.N.’, published in the issue dated 20/2/1863. Both articles emphasized the popular public success of the concert and the high standard of performance, but the earlier text expressed some doubt as to the inherent aesthetic and stylistic content of Wagner’s compositions. Thus, the earlier report commented that ‘the outward success of the concert was very splendid, even magnificent.’ However, in his brief commentary the reviewer enthused about Wagner’s skill and genius in orchestration but asserted that his very ‘German’ music made little emotive, aesthetic impression upon him.

A less reserved stance was adopted in the more substantial review published by Dalibor 20/2/1863. This opened with a statement of subtle pro-Prague national propaganda, drawing attention to the fact that Wagner’s works had been welcomed in Prague before they were accepted by the city’s bitter rival, Vienna. Thanks were offered for ‘the endeavours of some unselfish friends of art and admirers of the celebrated composer, for their invitation to him [to come] to Prague’. Concerning the concert itself, the review acknowledged its ‘strikingly astonishing’, ‘universal’ success. Apparently, at 11am, an hour before the concert was due to begin, the Žofín Hall was already packed ‘with the most sophisticated public.’ The orchestra, which the reviewer noted ‘played sitting down’, contrary to past practice in the city, was made up ‘of members of the Theatre orchestras [i.e. the Czech Provisional Theatre and the German Estates Theatre], of pupils of the Conservatory, and of many amateurs.’ Wagner arrived soon after 12 o’clock to a ‘vociferous reception’ from the orchestra and audience alike. The various works were on the whole enthusiastically received by the periodical’s critic. Eine Faust-Ouvertüre was regarded as an ‘interesting work and plentiful in attractive moments’, and the Overture to Die Meistersinger ‘a magnificent orchestral piece of great dimension, rich in ideas and in their working.’ The Gathering of the Meistersingers was considered ‘a very pleasing and decorative piece made up of two themes that are repeated in the most varied manner’. Sigmund’s ‘love song’, performed by K. Bernard and not Eduard Bachmann [according to Národní listy 8/2/1863 this was due to Bachmann being ill], was ‘as Count Laurencin quite rightly pointed out, a most tender and most delightful song’ reminiscent of Lohengrin. The Prelude to Die Meistersinger and Sigmund’s love song from Die Walküre had to be repeated. According to the Dalibor 20/2/1863 review the orchestra’s playing was ‘excellent, it seemed as though before us was quite another orchestral body [from the usual Prague orchestral resources]’. This was considered indicative of what could be achieved through ‘good conducting’.

The order in which the works were performed almost certainly corresponded with that of the published programme appearing in Bohemia 4/2/1863. However, the ‘Schmelzlied’ was not given. Possibly this stemmed from the indisposition of the originally cast singer Mr Bachmann and his replacement by Bernard.