Advance news of this concert published by Tagesbote aus Böhmen 5/3/1854, noted that the event would take place on 13th March at 5pm in the Žofín Hall. On 14th March the same newspaper reported that the event had been postponed until 16th March at 4pm at the same venue. The reason for the postponement was not given. That the change of date occurred relatively soon before the event was to take place is confirmed by a report appearing in Lumír 9/3/1854 that ‘This concert season promises us much of interest, firstly on 13th March with a great Academie to benefit poor students of law at the local university’.

Lumír 16/3/1854 published further news about this forthcoming event, giving particular attention to the projected performance of extracts from Skuherský’s Czech opera Samo. The correspondent reported: ‘Talented young composer Mr F.Z. Skuherský, pupil of Mr Kittl, is finishing his original Czech opera „Samo“, for which Mr Ivan Bohdan Staněk wrote the text. Extracts from this opera, namely march, song and chorus, we will hear on 16th March at the Akademie to benefit poor law students, which again has a very interesting programme containing besides the above-mentioned the following pieces which are quite new to Prague: Concert Overture [Koncertní ouvertura] of kapelmistra [Kapellmeister] Tauvic [Tauwitz], a song by Eduard Geibl [Geibel] with music by F.Z. Skuherský, Gypsy chorus with Czech text of Pelikán composed by the Director of the Žofín Academy Mr Vogl, and Schumann’s music to Hebbel’s poem „Schön Hedvig“. In addition in this Akademie we will here some good Czech and German songs from various composers, an aria from Mozart’s opera „La Clemenza di Tito“ and the Fifth Symphony (in C minor) by Beethoven. The whole Akademie will be directed by Mr Kapelník [Kapellmeister] Tauvic; among the participants will be: Miss Mayerová [Louise Meyer], Miss Lechner, Messrs Reichel and Kaván, then members of the chorus of the Žofín Academy.’

Tagesbote aus Böhmen 15/3/1854 published full details of this concert, listing the programme in projected performance order, as well as the participants. An unsigned review was then published by on 18/3/1854. This noted the participation of the Louise Meyer who was said to be singing in Prague outside of the Theatre for the first time. Her performance of the ‘familiar extract from Titus with clarinet solo was splendid to the ear. Miss Meyer was four times curtain-called and very flatteringly received. Miss Lechner [Lechnerová] declaimed the two ballades by Hebbel ‘softly and calmly, although we were expecting [more of] the poet’s blood-stirring Fantasy. Schumann’s music is in the first Ballade utterly negligible; the accompaniment to the second Ballade is characteristic and worthy of the ill-fated master. ... Mr Reichel sang with his beautiful voice the effective song „Die Liebe fass als Nachtigall“ by Skuhersky and one other by Al. Ander. To end the first part we heard three numbers from the opera „Samo“ by the young and talented composer F.Z. Skuherský: a) a good and characteristically orchestrated March; b) a short, charming Lied; c) a martial chorus with a recurring 8-bar theme.’ The Czech chorus, reported the correspondent, was accompanied by only a slight instrumental ensemble and was not performed accurately. This was attributed to there having been only one rehearsal. After remarking that also performed was a dignified overture by Tauwitz and the fifth symphony of Beethoven, the review concluded with the note that the event had attracted a numerous attendance.

An unsigned review of this concert was published by Lumír 18/3/1854. The critic reported that the ‘Concert to benefit poor law students, taking place on 16th March on Žofín Island, had a very successful outcome, both as to the receipts and to the complete satisfaction of the public. The fundamental value [of the programme] lay in the novelty and the good choice of pieces, elevated by the excellent performance throughout. Tauvic’s [Tauwitz] new Overture excelled in its originality, honest ardour and noble refinement, and shows again how Tauvic has a fantasy and invention as well as a proficiency surpassing the greater part of composers here [in Prague].’ The correspondent then remarked of Tauvic’s modesty for a man of such talent in his apparent reticence to have his works performed. In so far as we know before he came to Prague Mr Tauvic had composed several original operas; about two of these we know for certain that in some times, namely in Riga and in Wrocław [Breslau] they were received with merited success. They are the operas „Bramante“ and „Schmolke und Bakel“. Why has nothing from them been so far performed [here]? We would dearly like to hear something similar in Czech from Mr Tauvic, and here it would seem that he has too much modesty. If only at least some other composers with half of Tauvic’s talent would also have only half as much modesty, then we would not be subjected to their progeny. Miss Mayerová [Meyer] distinguished herself with the great aria of Vitellia from Mozart’s „Tito“ and showed particularly magnificently that she is almost wholly so excellent in coloratura as in dramatic singing [i.e. in performing with dramatic expression]. Vogl’s Czech chorus „Cikání“ (text by Pelikán) for male voices is characteristic and spirited. The music to the poem of Hebbel by Robert Schumann made a particular impression, with the sad fate of this rare composer still fresh in our minds, how it is impossible to have anticipated an end to him of the same manner as Hölderlin and Lenau. This item was performed with particular piety by Mr Kavan and Miss Lechnerova. Extracts from Skuherský’s Czech opera „Samo“ inspired our desire [to hear] the whole; they are vivacious and assiduously executed and have much national [folk] colouring in them although, it seems to us, their dramatic effect is not so marked. The song [aria] sung by Mr Reichel received merited applause. Beethoven’s Fifth Symphony was slickly performed throughout.’ This article was therefore particularly notable for its appraisal and commentary upon Tauwitz and his activity and character as a composer. The request by the critic for Tauwitz to his compose new works in Czech would go unheeded; within a decade the composer and conductor was being condemned by pro-Czech factions as a part of Prague’s German orientated musical environment.