• Žofín Academy: participating institution, vv

Mercy’s Anzeiger 13/11/1854 reported that ‘At the next concert of the Žofín Academy, which will be given on 30th November, will be performed a chorus from S.Bach’s Passion music, „Der Tugend Ewigkeit“ male-voice chorus by Führer, a Fugue by Sarti and a part of the oratorio „Die Siebenschläfer“ by Löwe.’ The date of this event was evidently changed, ultimately taking place on 3/12/1854. On 1/12/1854 Mercy’s Anzeiger published news that ‘The day after tomorrow (3rd December) takes place in the Hall on Žofín Island at half past 1 in the afternoon the last vocal concert this year of the Žofín Academy. We repeat the programme as: Double chorus from the Passion music by Seb. Bach; Bußlied of the Tannhäuser, original poem and melody from the 13th-century Minnesänger Tannhäuser (male-voice chorus); 8-voice Fugue by Sarti; „Der Tugend Ewigkeit“, male-voice chorus by Robert Führer; first part of Lowes Oratorium „Die Siebenschläfer“.’

News of this event was first related by the German-language newspaper Der Tagesbote on 26/11/1854, specifying its date, time, venue and the programme in performance order. The greater part of the works being given were noted to be new for Prague. The so-called ‘Bußlied’ cannot be identified. Its inclusion in the programme probably stemmed from interest in Wagner’s opera which had been given its first performance in Prague at the Estates Theatre on 25 November 1854.

A review, signed ‘J.H.’, of this event was published by Der Tagesbote 4/12/1854. The correspondent noted that the concert ‘had a very interesting programme’, and commented briefly about some of the works that were performed. Führer’s Tugend Ewigkeit, being performed in Prague for the first time, ‘had a pleasing melodic form, and despite its lack of profundity gained general applause. [All] the works were given with unusual precision, especially the difficult eight-parted fugue by Sarti, which had to be repeated. Only the last number, the wonderful final choir from Mendelssohn-Bartholdy’s Lauda Sion was not performed so well. The overall impression of the concert was favourable; that the majority of the audience was as not overly enthusiastic as might have been expected was probably due to the similarity in form between the pieces and the lack of the usual instrumental accompaniment. The piano, which could only be heard in occasional places, was not adequate in this respect.

The concerts given by the Žofín Academy usually involved instrumentalists, during the 1850s being drafted for the occasions from the Estates Theatre orchestra.