News of this concert first appeared in the Czech-language arts periodical Lumír 22/1/1863 in a brief report noting: ‘Poles resident in Prague are arranging here a great concert with Polish forces, the clear profit from which they are dedicating to... the construction of an altar to Sv Vojtěch [St Adalbert] in the Karlín church.’ The church in question was the new church of St Cyril and Methodius [Kostel svatého Cyrila a Metodějě] in Karlín, commenced in 1850 and dedicated on 18/10/1863.

Advance reports were published by the daily newspaper Národní listy 10/2/1863 and Národní listy 11/2/1863 of this concert, noting that it was being organized by Prague Poles for the acquisition of a new altar to Sv Vojtěch for the church in Karlín. The earlier source related that the event was anticipated to be ‘one of the best concerts of this season’ and would be taking place on 11/2/1863 at 7pm. The subsequent report appearing in the newspaper related that owing to unforeseen circumstances the concert had to be rescheduled for Friday 13/2/1863. This postponement was confirmed by a report appearing in Lumír 12/2/1863, which stated that the event was to take place the following day at 7pm in the Provisional Theatre. Národní listy 14/2/1863 then reported that owing to the obligation of Miss Helena Zawiszanka to sing in the German Estates Theatre, and due to the illness of the singer Jan Rokytanský, the concert had again to be postponed until a day later still, on 14/2/1863. This source also commented that details of this second postponement had been issued only at 4pm on 13th February, with the result that many people arrived at the theatre unaware that the event was now on the following day.

Národní listy 10/2/1863 reported: ‘Polish concert [Polský koncert]. As we noted not long ago, locally resident Poles have undertaken the arrangement of a concert the clear profit from which is to be dedicated to the acquisition of an altar to St Adalbert [Sv Vojtěch], as their and our [i.e. Polish and Czech] patron saint, in the church [of St Cyril and Methodius] in Karlín. We now learn that this concert will be tomorrow on Wednesday evening in the Royal Estate Provisional Theatre. Participating will be Mr Rokytanský, Miss Zawiszanka, Mr Želenski [Żeleński], Mr Duleba. Beside musical items there will also be two declamations, one Polish and one Czech. Further details of the programme we will give below. We hope that the mere news of this will suffice for the Czech public of Prague to secure abundant attendance...’ This report was followed on the same page of the newspaper with a further subtantial text relating details of the concert’s proposed programme: ‘Concert, which the Poles living in Prague are arranging and the clear profit from which is being devoted to the construction of an alter to St Adalbert [Sv Vojtěch] in the church in Karlín, will take place tomorrow 11th February in the Czech Provisional Theatre on the embankment. The programme is as follows: 1. Old Czech song of St Adalbert [Staročeská píseň sv. Vojtěcha], sung by the singing society „Hlahol“. 2. Scherzo by Chopin for piano, performed Mr Duleba. 3. Song from the Queen’s Court Manuscript [Píseň z králodvorského rukopisu], music by W. Zelenský [Żeleński], sung by Miss Zawiszanka. 4. Declamation: Alphuhara by Konrad Wallenrod Mickiewicz. 5. Aria from opera „L’étoile du nord“ sung by Mr Rokytanský. 6. Czech declamation, performed by Mr Kolár jr. 7. Piece by Liszt for piano, performed Mr Duleba. 8.a) Dwie zorze [Two dawns] by Moniuszko; b) Ukolébavka [Lullaby] by Měchura; sung by Miss Zawiszanka. 9. „Wesolo zeglujmy, wesolo!“ [Wesoło źeglujmy, wesoło – Happy voyage] chorus by W. Zelenský [Żeleński], performed „Hlahol“ – Prices [for admission] are as usual for theatre performances; commences at 7pm. – We are convinced, that already with a cause so praiseworthy to attract the public, nothing needs to be said that the concert with its very interesting programme will for sure be one of the best in all respects of this year’s concert season.’

The unsigned Národní listy 11/2/1863 report announcing the first postponement of this concert was preceded by a stirring patriotic speech lauding Poles of Prague who were arranging this event and providing a noteworthy insight into their participation at this time in the city’s public musical life. The correspondent wrote: ‘Polish concert [Koncert polský]. Our Slavonic bretheren in Prague comprising Srbs, Croats, Bulgarians etc. take part very profusely in our Carnival entertainment; the Lawyers [Law students] Ball and the great National Beseda were the best evidence of this. We miss only our brother Poles, and have done so now for already three years past; outside of their land they observe the grief of their nation and thus understandingly this year they might forego still less the pursuit of happy entertainment, when every day they receive the news that spills much blood of brothers from the country’s wars. Certainly no-one will take it amiss, but will applause with all compassion when the grieving sons of Poland pass over all our invitations to participate in dance entertainments. And yet, they are arranging for us an entertainment – unusual for this time of Carnival – namely a concert, which as much for its interesting programme as for its noble cause deserves universal attention and the most plentiful attendance. As we have already noted the income from this concert will be dedicated to the cause of establishing an altar to Sv Vojtěch [St Adalbert] in the new church in Karlín. It is not necessary to elaborate further on the significance and importance of this concert; we are convinced that the public will provide splendid proof of this. We have still to note, that this concert for unforeseen circumstances will not take place today Wednesday but not until Friday.’

Lumír 12/2/1863 reported that ‘Brother Poles living here in Prague are arranging tomorrow at 7pm a concert in the Czech Theatre, the profit from which will be dedicated to the construction of the altar of Sv Vojtěch in the new church in Karlín. It is only to be expected that the attendance will be considerable [přehojný – substantial, great, considerable].’

A review, signed ‘M.’, of this event was published by the German-language newspaper Politik 16/2/1863. The critic remarked: ‘Concert. Two days ago in the Provisional Theatre the concert finally took place that had been announced some days previously and had been repeatedly delayed by various incidental factors, organized by the local Polish community to raise funds for the altar to St Adalbert to be erected in the church of St Methodius and Cyril in the Karolinenthal [Karlín]. The programme was carefully and appropriately compiled, and the nationality of the organizers was worthily represented in the areas of both creative and performing artistic activity. The opening consisted of the well-known hymn of the Slavs, Adalbert’s [version of a] song dating from the tenth century, Hospodine pomiluj ny [Lord, have mercy on us] performed with solemnity by the „Hlahol“ choral society. A young Pole, Mr Duleba, next played the first movement of Hummel’s Piano Concerto in A minor with orchestral accompaniment and surprised even our somewhat spoilt ears with what was in fact a superb virtuosity, so that this concert piece, which is now rather dated and only estimable to a limited degree for instructive purposes, won new interest through the sparkling and wholly accurate bravura of the soloist. The pianist, who was called back repeatedly following this item, later also performed the original Scherzo of his illustrious compatriot Chopin, engaging fully with the spirit of the composition, and then, to stormy demands for an encore, added a Mazur [Mazurka]. Miss Zawiszanka sang first two gifted Lieder from the Queen’s Court Manuscript [Königinhofer Handschrift / Rukopis královédvorský], Opuštěná and Kytice by Ladislav Želenski [Żeleński, Count Władysław], then Lieder by Moniusko and Měchura and an encore demanded by general applause that consisted of a little Polish song. This much-loved performer was presented with a wreath immediately following her first numbers. Instead of the vocal items [to be sung by] Mr Rokytanský, which were omitted without any hint of apology, Mr Schwarz [Švarc] sang, with the same success as the previous singer [Miss Zawiszanka], Lieder by Hanslik and Pivoda. The declamatory section of the concert consisted of Mr Kolár junior’s recitation of the poem Smrt zrádci vlasti by Horecký and then that [the recitation] of a man unknown to us who read a Polish ballad, Alpuhara by Mickiewicz. The „Hlahol“ choral society, under the direction of Mr Heller, ended the concert with a dramatic chorus Wesoło źeglujmy, wesoło by Želenski [Żeleński]. This young and highly gifted composer is currently occupying himself with higher musical training in Prague; in this concert he performed the piano accompaniments to all of the solo items with real taste. The concert was well attended, yet had better information been provided by the organizer, thus avoiding the repeated cancellation and rescheduling of the event, a still better attendance could have been achieved.’ A footnote was attached to this review relating that ‘The entire volume [of songs from the Queen’s Court Manuscript], containing five songs and highly recommended, has just been issued by the publishing department of J. Hoffmann’s music shop.’

The German-language newspaper Bohemia 17/2/1863 published a substantial review, signed ‘V.’, of this concert. The text, titled: ‘Concert in the Provisional Theatre’ reported that to benefit the fund for the construction of a new altar to St Adalbert in the Karolinenthal [Karlín] church, a concert had been organised by Poles resident in Prague. This concert took place on Saturday [14/2/1863] in the Provisional Theatre, having been postponed from the previous day [Friday] due to the time of the concert in the afternoon clashing with the performance of Troubadour in the Estates Theatre. The programme was described as comprising a mosaic of different works due to the difficult circumstances surrounding the organization of the concert, works which for the most part were ‘worthy and interesting’. All numbers were apparently received with stormy applause, with the soloists being several times recalled. The highlight of the concert was considered to be Miss Zawiszanka, who ‘sang from Mr Zelenský’s [Żeleński] compositions from the Queen’s Court Manuscript „Opusczona“ (opuštěná) and „Wianek“ (kytice), then „dwie Zovze“ by Moniuszko and a Czech Lullaby by Měchura. In the performance of these the talented singer of the German Opera failed only occasionally with respect to sure, emphatic accentuation...’, which caused a conflict with the expressive content of the text that she was attempting to convey. The deficiency was considered to be only a very minor point and did not detract from the genius of her performance. Miss Zawiszanka apparently was unihibited in her singing, performing ‘with expression and spirit united in the beauty and sonority of her sympathetic voice.’ She was received with stormy applause following each number and was presented with a ‘veritably enormous laurel wreath.’ The correspondent then commented upon the other principal soloist, the pianist ‘Duleba’ [Dulemba]: ‘We made an interesting acquaintance in the young pianist Mr Duleba, who with the first movement from Hummel’s A minor Concerto and with the B minor Sherzo [Scherzo] by Chopin presented himself as a very promising virtuoso. His own technical skill is not yet commensurate with the gung-ho and uncompromisingly flat-out manner of his performance, which eschewed security. The place of the billed Mr Rokitanský [Rokytanský] was taken by Mr Šwarz [Švarc]. He sang Hanslick’s art song of Wyscherhrad [Vyšehrad] and songs by Pivoda. It goes without saying that he, as well as the pianist, and Mr Kolar jnr who performed a spirited Polish poem „Smrt zrádci vlasti“ translated into Czech, and one unnamed gentleman who declaimed the Ballad from Mickiewicz „Alpuhara“ in its original text, gained vociferous recognition.’ The report then noted that the programme opened and concluded with performances by members of Hlahol under the direction of Heller. Commencing the concert was a performance of the ‘venerable Song of St Adalbert, and closed with the chorus  „Wesoło źeglujmy, wesoło“ by Zelensky [Żeleński]. The compositional skills of the last named gentleman, who also assumed the accompaniment at the piano of the individual vocal items, were first noted in a recent notice by this newspaper drawing attention to his compositions from the Queen’s Court Manuscript.’

A detailed review, signed ‘–lz–’, of this concert was published some six days after the event by Národní listy 20/2/1863. The correspondent related: ‘Concert of Prague resident Poles, which after all impediments took place last Saturday in the Provisional Theatre, came off splendidly in terms of the performances as well as in the attendance. The singer Miss Zawiszanka and performer Mr Dulemba [Duleba] drew from the audience the most sincere and merited approbation. The artistry in song of Miss Zawiszanka is really well-known among the Czech public; the playing of Mr Dulemba [Duleba] deserves all praise; it is accurate, impassioned and with innocent tenderness and feeling. Mr Dulemba [Duleba] also has a faultless and well-practised memory; Humel’s [Hummel] Concerto and other items he played from memory, which excellently served to effect a free rendition of the compositions. In place of the ill Mr Rokytanský Mr Švarc sang some songs in a gratifying manner and with good expression. Owing to shortness of time, it was perhaps impossible for him to have chosen numbers more pertinent to the concert. Beginning and ending the concert were choruses, „Hospodine pomiluj ny“ and „Wesolo žeglujmy“; the latter chorus composed by Zeleński [Żeleński], of whose songs from the Queen’s Court Manuscript and about whose musical talents a short time ago we offered an essay in these pages; the said chorus testified afresh to the remarkable abilities of this composer. Both choruses were performed tastefully and with appropriate expression by the Hlahol society under the direction of Ferd. Heller. Of the two declamations [performed], the poem „Smrt zrádci vlasti“, spoken by Mr Kolár junior was particularly well-liked. The second poem „Alpuhara“ was Polish and performed by a man whose name of which we are unaware. All of the performers were graced with repeated calls; Miss Zawiszanka was handed a laurel wreath with the Slavonic tricolore, in whose happy colours were interweaved also the colour of mourning...’

The Národní listy 20/2/1863 review enthused about the success of the concert, making particular reference to the playing of ‘Dulemba’ [Duleba], which was considered to be ‘accurate, fiery, [with] tenderness and feeling.’ Duleba was noted to have performed from memory. The performance of Miss Zawiszanka on this occasion was described by Národní listy 16/2/1863 in a text that also incorporated a short biography of the soprano. The bass singer Jakub Švarc appeared instead of the ill Rokytanský.

Lumír 19/2/1863 also published a detailed review of this concert. The correspondent reported: ‘Concert of the Poles [Koncert Poláků]. Poles living here arranged together with some Czech artists on 14th February a concert in the Provisional Theatre, the clear profit from which is dedicated to the construction of an altar in the Karlín church of St Cyril and Methodius. Unfortunately the concert met with many difficulties [překážkami - with hinderances], so that twice it had to be postponed, and therefore enjoyed only a moderate attendance. Among the participants Miss Zawiszanka and young pianist Mr Dulemba [Duleba] excelled most of all. Miss Zawiszanka performed excellently Zelenský’s [Żeleński] songs from the Queen’s Court Manuscript, then Moniuszko’s „Dwie Zorze“ on words by Lenartowić, which has also been decently set to music by E. Kania, and lastly the Czech „Ukolébavka“ by Měchura. She not only received a vociferous reception but also stormy applause following each song, so that she also had to add the song „Kalina“ as an encore. The young lady was honoured with a laurel wreath with a Slavonic tricolor and a mourning ribbon. For the first time appearing before our public was the young and able pianist Mr Dulemba [Duleba], who with his concerts to his countrymen in Lvov and in Krakow had already gained praise. He played with orchestral accompaniment a „Scherzo“ by Chopin, Liszt’s Bravura „Rhapsodie“ and added on general request a „Mazurka“ by Chopin. Mr Dulemba [Duleba] played all the compositions from memory and proved himself in the strength of his playing, in immaculate execution, and in surprisingly dexterous and sprightly playing, especially in the compositions of his countryman Chopin. It is commendable, that Mr Dulemba [Duleba] plays entirely without affectation, which we noted mainly in the „Rhapsodie“ where we would have wished in the second part for greater expression. In place of Rokytanský appeared worthy Mr Švarc. He sung Hanslick’s unctuously sweet „Píseň pod Vyšehradem“, Pivoda’s ardent „Na vysosti hvězdy svítí“ and added „Srdce ztracené“. Both songs by Pivoda were not performed as their texts called for. Mr Švarc was completely ammenable and obliging... which the audience recognized through their applause. To add to the variety of the programme were added two declamations: Polish „Alpuhara“ by Mikiewič and the Górecki’s Czech „Smrt zrádce vlasti“. The first was performed by an anonymous amateur, Mr K., the second by Mr Kolar jnr. Both achieved a very pretty success. The beginning and close of the concert were made by „Hlahol“ performing the solemn old-Czech choral „Píseň sv. Vojtěcha“, and at the end the new Polish chorus by Zeleński „Wesoło źeglujmy, wesoło“. Zeleński’s chorus excells in its ingenious working, felicitous melody and thoughtful counterpoint. At the end the composer was called. The success of the concert was splendid.’

The appearance in this concert and the acclaim of the audience for the singer Helena Zawiszanaka inspired Národní listy 16/2/1863 to publish a brief biography of her. This was preceeded with the observation: ‘Polish artiste. In the Saturday concert of Poles resident here [in Prague] there also appeared Miss Hel. Zawiszanka, member of the local German opera, devoted daughter of her nation in its present sad condition. Immediately upon her appearance the young lady was welcomed with vociferous approbation, her beautiful singing inspired the attending public in such measure that a garland of flowers was thrown during the stormy, long-lasting applause.’ Národní listy 18/2/1863 reported that a profit of 100zl from this concert was handed over to Count Harrach as the vice-president of the fund for the Karlín church.

No review of this concert was published by the German-language Prager Zeitung.
       
No details of the works to be performed in this concert were included in the Lumír 12/2/1863 notice. The programme is therefore compiled from the quoted reviews. The principal differences between the programme actually given and that first advertised by Národní listy 10/2/1863 as to be taking place on 11/2/1863 included the performance of the concerto movement by Hummel, and the substitution of an aria from Meyerbeer’s L’étoile du nord to have been sung by Rokytanský for the two works given by Jakub Švarc. The exact order of the whole programme cannot be ascertained, but the descriptions given by the review texts indicate that the Czech chorale was sung to open the concert and was followed by the concerto movement by Hummel. The final item was the chorus Wesoło źeglujmy, wesoło. The only puzzling inconsistancy between the various sources lies in the Lumír review. The correspondent puzzling relates that Duleba ‘Played with accompaniment of orchestra „Scherzo“ by Chopin, Liszt’s Bravura „Rhapsodie“ and added on general request a „Mazurka“ by Chopin.’ The failure to mention the concerto movement by Hummel combined with the puzzling reference to orchestral accompaniment for a work by Chopin that is for solo piano indicates that the correspondent’s account was in error, perhaps missing some text to describe the concertante item. The reference to Dulemba playing a Rhapsody by Liszt is oddly missing from the other review accounts; this seems peculiar given the specific description in the Lumír account of the pianist’s playing in a particular section of this piece. Possibly the work by Liszt was simply overlooked in the reviews by the other newspapers. The piece, most likely one of the Hungarian Rhapsodies, is therefore included in the database programme record.

Although not specifically identified by any of the sources, the accompanying orchestra would almost certainly have been that of the venue, the Czech Provisional Theatre.

Interestingly, each of the sources offered a different spelling of Żeleński’s name who at this time was resident in Prague and a pupil of Kittl. His songs on the Queen’s Court Manuscript were written in Prague and were cast in Czech, not in Polish as suggested by the Bohemia review. A further clue to there having been performed in Czech may have been given by the reference to Zawiszanka’s singing having suffered from faulty accentuation which would have been quite possible given her Polish nationality.

The new church was completed during the summer and early autumn of 1863 and, according to the Tagesanzeiger  daily almanac of Prager Morgenpost 18/10/1863, dedicated on that day.