• Estates Theatre orchestra: participating orchestra
• MAÝR, Jan Nepomuk: director of ensemble
• Estates Theatre chorus: participating ensemble, chorus
• Žofín Academy: participating institution, chorus
• Teaching candidates of the 'National-school' in Budeč: participating ensemble, chorus

News of this event first appeared in Lumír 18/4/1851. The periodical reported that a ‘great Czech musical academy is being prepared for the benefit of a national theatre. The famous tenor Ander [Anderle], our countryman, who is playing in the German Estates Theatre as a guest, has given his word that he will sing at this academy.’ No further details of the occasion were given by the report.

Advance information about this concert also appeared in a news article published in the Lokalzeitung of Bohemia 2/5/1851. The source began by commenting upon the Vienna court opera singer Ander having graciously consented to appear in various benefit concerts during his visit to Prague. Ander had agreed to delay his departure from the city until Monday 5th May in order to take part in this ‘Concert for the Benefit of the Foundation-fund for constructing a Czech National Theatre [Konzert zum Vortheile des Gründungsfondes für Erbauung eines čechischen Nationaltheaters], in which he would perform 3 favourite songs. Other works and participants were also listed, including ‘two new concert overtures’ by Kittl and J. Heller. A ‘numerous audience’ was expected.

The Tagesanzeiger text of Bohemia 4/5/1851 published full details of this programme in performance order, as well as noting the time and venue of the event and the participating soloists.

A review, signed ‘V.’, of this concert was published by Bohemia 8/5/1851. This began by noting that the post-Easter concert season of this year was unusually rich and that this event constituted a worthwhile conclusion. The audience was thought to have been more numerous than in comparison with other events taking plave at the time. This was considered to be a result of the composers and artists present in the programme, and despite the ‘stormy weather, the hall was filled with an unusually numerous, very receptive and grateful audience.’ Each of the soloists’ performances was then described. ‘Ander [Anderle]’ was noted to have sung Hölzel’s ‘In den Augen liegt das Herz’ with success, although the correspondent scathingly criticized the work for its ‘ailing salon-sentimentality (presenting insignificant emotions of meaningless and drawling angst in a familiar, over-used way by means of ... [clichéd] phrases and with a forced coquettery)’. The Bohemia critic did not relate that the song was sung in Czech, which was noted by the author of the review of the concert that was published by Lumír. Ander followed this with a ‘deeply felt’ performance of the ‘simple yet gripping folksong’ Horo, horo, vysoká jsi. He also sang the solo part, for which he received vociferous applause, in the Czech song with chorus by J.N. Škroup which constituted the final item of the concert.

The review then noted that appearing in place of Therese Schwarz [Švarcová] was the ‘popular’ Mrs Botschon-Soukup [Botschon-Soukupová], singing Kücken’s Maurisches Ständchen and as an encore performing two unspecified folksongs. On account of the Czech orientated theme of the concert, the unexpected appearance of Draxler in the concert was noted to have caused ‘pleasant surprise’. The only solo instrumental work contained in the programme was that by Němec. ‘The beauties of this composition, specifically the highly poetic and effective orchestration, have already been described in another article’. Němec’s performance was thought to have been extraordinarily effective, the ‘talented virtuoso’ being twice curtain-called. As the violinist as a composer the correspondent lamented that he had not been heard during the rest of the concert season, ‘a productive talent such as his should not rest for a whole year.’

Of the choral works given in the concert, the Bohemia critic evidently considered that the performance of Storch’s Leben und Lied was compromised by having only two experienced soloists, Emminger and Strakatý. Originally, according to the Bohemia 4/5/1851 source, the participants were to have included the opera singers Kunz and Knopp. However the review identified the other two vocalists as Messrs Wolf and Newěd [Nedvěd - however, the Lumír review reported that the soloists were Emminger, Strakatý, Wolf and Brzorád. The last of these has been include in the programme and not Nedwěd, if only because the Czech source contains more descriptiove details as a whole about the concert]. The work itself ‘testified to the [composer’s] experience and comprehensive knowledge of the vocal music of popular and famous masters, but one canot find many traces of orignality. Nevertheless, the piece is skilfully conceived and succeeds in a certain outward effect, especially when presented with as many voices as today and when as well rehearsed.’ That Maschek’s [Mašek] Válka was thought more successful than that of the ‘far better known and more often mentioned composer’ Storch was on account of the intrinsic content and aethetic worth of the work, which ‘excells through the poetic élan, novelty and characteristic colouring of theideas as well as through its skilfulness in form and practical knowledge of the numerous mysteries of vocal setting. The impact of this chorus with almost a hundred voices singing was immense, and the number had to be repeated.’ The correspondent then stated the rumour that Maschek would soon be offered a position that would allow ‘this talented and educated musician to once more apply his energy and knowledge within the motherland.’ Mašek had been active as a professional musician in Prague until 1848 when he left to work abroad.

Finally, the Bohemia review covered the two concert overtures. That by Kittl, despite having been advertised in the pre-concert text as new, was recalled to be a ‘sensational and popular piece that is known from earlier performances.’ The work had been published in 1841. Heller’s overture was criticized for its apparently poor form and melodic writing. Its principal theme was undistinguished and was ill-suited to partner the ‘graceful and interesting second [theme]’. An Andante movement in B major comprised the work’s central section. This was ‘skilfully composed and distinguished in its melody’ but constituted an ‘outlandish’ middle movement for a so-called ‘concert overture’. The piece was successfully performed and was received with applause. Kapellmeister Mayr [Maýr] conducted the entire concert.

A detailed review, signed ‘Κхφλς’, of this event was published by Lumír 8/5/1851. The correspondent reported that ‘On Monday 5th May at 5 in the afternoon took place on Žofín a great instrumental and vocal concert to benefit the fund for the founding of a national theatre, and to the complete satisfaction of all, in spite of unpleasant weather, there assembled a large audience.’ Of particular interest was the participation of the celebrated court singer from Vienna, Mr Ander, who it was noted had postponed his departure for Hanover and the London in order to participate in this event. Also to have appeared was the Vienna court singer Teresa Schwarzová, but having suddenly been taken ill her place was assumed by Mr Draxler and Mrs Bočonová (née Soukpová), both singers of the Estates Theatre. ‘At the opening of the concert the orchestra of the local Estates Theatre performed Kittl’s well-known Concert Overtre in D major with commendable precision. After that our excellent - in a word, outstanding - actress Mrs Kolárová Proslov by V.J. Picek - a poem with liberal circumspection pertinent to the integration of both nationalities that live. The third number “Píseň od Hölzla” with a Czech text was sung by Mr Ander with his exquisit voice with appropriate polish and levity, and when the loud applause did not cease he performed the folksong Horo, vysoká jsi accompanied by immense cheering from the inspired audience. The Concert Allegro for violin with accompanying orchestra, composed and performed by Professor Němec is a worthy composition full of bravura and rather fine cantilena but a little discursive. Professor Němec gained recognition as both composer and virtuoso. The German double chorus Leben und Lied with solo vocal quartet by Storch and performed by Messrs Emminger, Strakatý, Wolf and Brzorád ... in its sections lacks a natural unity in its harmonic writing, it excels however with lively melody ... Introducing the second part [of the concert] was the new Concert Overture (in E) by J.A. Heller. The orchestration in this composition is exceptionally loud and splendid, ... cymbals and bells presenting an obbligato rhythmn with a happily clatter, and the recitative for four double basses in unison has in particular a rare originalty. Unfortunately, the main theme of the Allegro is too simple. After this Mr Draxler appeared and with restrained forcefulness sang in his mighty voice the famous great recitative and aria from the first part of Haydn’s oratorio “Stvoření světa” [Die Schöpfung - despite the Czech titling by Lumír, there is no indication given by any of the specified sources that the extract was performed in Czech]. About the extent and volume of this unusual organ so I confirm, that [from] the high notes of the octave down to low D he performed with the same firm strength and clarity with which he has already for long been known here in Prague. The vigorous applause during the singing and three times loudly curtain-called can be taken as proof how great is his standing with the local public.The following song by Kücken “Maurické zastaveníčko” which actually Miss Schwarzová would have sung, Mrs Bočonová performed with sweetly elegant expression, and again being curtain-called she also sang too two folksongs with great tastefulness and piquancy. The male-voice chorus by Mašek to the famous text “Válka! Válka!’, an energetic composition combining a quite strict style with ebulliant melodic interest had to be repeated; the only fault to an impeccable performance being insecurity and shakiness on the part of the tenors of the chorus. The closing song with chorus O vlastí má [actually Kde vlast je má?] by Jan Nep. Škroup, in contrast with the pithiness of the preceeding chorus abounded in simplicity and bonhomie. Mr Ander with his fiery singing did what he could to ... [ensure that the work was effective and was not therefore overwhelmed]. Kapelník [Kapellmeister J. Mayr directed the whole concert with an excellent baton. - Hail to the impresarios and supports of this concert!’

In a note appended to the Lumír review by the periodical’s editor vehemently remarked how the local Kapellmeister František Škroup had hesitated to lend Draxler a copy of Haydn’s oratorio after the singer had agreed to perform in the concert in place of the ill Miss Schwarzová. The note added with great sarcasm that ‘Perhaps Mr F. Škroup was piqued that on this occasion none of his own compositions were in the programme? My God! As if though a proper Czech concert could be without compositions of Mr F. Škroup!’ This was contrasted with the goodwill of Ander who had delayed his departure from the city in order to participate in the event.