• NĚMEC, František: soloist, vl
• KRÁL, Jan: soloist, va
• TRÄG, Anton: soloist, vc
• KÖCKERT, Adolph: soloist, vl

A report was published by Bohemia 17/1/1851 relating that the ‘favourite’ Quartet Soirée’ given by Messrs Němec, Träg, Král and Köckert would be begin at the start of Lent in the palace of Count Clam. The programmes, although not specified in detail by the text, were said to include music by ‘Haydn, Mozart and Beethoven, the coryphaeus of modern style, as well as F. Schubert, Mendelssohn-Bartholdy, Veit and others.’

Bohemia 20/2/1851 published a report announcing that the year’s Quartet Soriées would take place in Count Clam’s Palace on the successive Mondays of 10th, 17th and 24th March. The programmes would contain ‘mainly items of classical chamber music literature and will therefore be interesting’. They would include two compositions by the ‘immortal Mendelssohn and a quintet by Gade, in which genre this ingenious composer will be heard here for the first time.’ An entrance card to all three events cost 2 fl. Individual events were 50 kr and were available from the music shop of J. Hoffmann.

Lumír 20/2/1851 also published news of this series of three quartet entertainments. The periodical reported that the ‘Well-known quartets which are arranged each year by Messrs Němec, Köckert, Kral [Král] and Träg will begin in Count Klam’s Palace on 10th March, and continue on 17th and 24th March. There will be performed two compositions from the legacy of Mendelssohn, a quartet and quintet, then a quintet by Niels Gade, the genial composer being presented here for the first time as a writer of chamber music.’ The text also remarked that the performers were playing on instruments by the most celebrated Italian masters, namely ‘one violin by Straduari and one by Quarnieri, two violas and violoncello by Amati.’ On 6th March the periodical published further news that the ‘First of the favourite quartets [quartet entertainments] of Messrs Němec, Král, prof. Traeg and Nökert [Köckert] will be on Monday 10th March in the palace of Count Clam-Gallas. On the programme are quartets of Haydn and Veit (in B-flat major and D minor] and a quintet by Mozart in E-flat major.’

Details of the programme for the first soirée were published by Bohemia 9/3/1851, specifying that the works to be performed were a ‘Quartet of Haydn B-flat major, Quartet of Veit D minor and Quintet with 2 violas by Mozart E-flat major.’ The event was then listed in the Tagesanzeiger text of Bohemia 9/3/1851, specifying its date, time and venue.

A review, signed ‘V.’, was published by Bohemia 13/3/1851. The correspondent began by expressing regret that this new annual series of chamber music events was limited to the ‘too meagre number of three’, and that the absence of a piano [in previous series the programmes had often included works for piano trio or piano quartet] meant that ‘several of the greatest masterpieces of that genre are missing.’ The critic also lamented the choice of Veit’s D minor Quartet in this first concert instead of ‘his newest and most excellent work ... since every new opus number of this tone-poet unveils new phases of his rare talent.’ These reservations aside however, ‘the selection of these programmes can only be gratefully appreciated’ and praised the choice of two works by Beethoven, and ‘two neglected works by the immortal Felix [Mendelssohn] and one by Gade promising novelties of the highest interest.’ About the first entertainment in this series the correspondent devoted most attention to the work by Mozart, emphasizing the composer’s particular creative personality and progressive style, and interestingly drawing parallels with modernist trends in contemporary music. Haydn was identified as the founder of a completely new period in the sphere [of chamber music], and the ‘excellence’ of the work by Veit was noted to be demonstrated in the work’s recognition abroad as well as in the composer’s motherland. The performances of all three works ‘were as precise as they were fiery. There gathered in the salon of the Clam Palace ... a brilliant and numerous audience.’

A review, signed ‘L.R.’, was published in the ‘Z Prahy [From Prague]’ section of Lumír 13/3/1851. Remarking that ‘we heard three distinguished works’, the correspondent briefly commented upon each number of the programme. Thus, the ‘Quartet of Papa Haydn (in B-flat major) is of his timeless, earthy and primal spirit that resists time and all change, in each healthy idea pleasantly refreshing, and excels especially with its dear whimsicality and complacency [milou rozmarností a samolibostí]’. The four movements of the quartet were thought to be completely homogenous and form an inseparable whole. Veit’s Quartet on the contrary provided a ‘great contrast ... Here we meet with such fantasy, I would say like a book of delerious dreams, modern elegance, ingratiating in its glossy figurations. These elements sometimes come together in complete concord; here and there the logic appears not always to be precise, but above all the interplay is very interesting. The third composition was Mozart’s Quintet in E-flat major. This is a quintet by Mozart: it is not necessary to elaborate upon [the fact] that it is a masterly creation; specifically, I would point out that it belongs amongst the happiest compositions of that master.’ Throughout the entertainment, the ‘performances were on the whole apart from some mere trifles very praiseworthy. Some experts affirmed that overall the first violin and violoncello sounded a little sharp, but that is not a pity if we consider that the violin and ’cello in certain circumstances require an acuteness of tone relative to the other parts.’