• Žofín Academy: participating institution, vv
• ZVONAŘ, Josef Leopold: director of institute, conductor

The title, date, time and venue of this event were published by Prager Morgenpost 13/5/1862. This report also included a detailed listing of the programme in projected performance order, identifying too the participating soloists. The ‘Zwei altböhmische Lieder’ [2 Old-Czech songs] given in the second half were note to being performed by mixed voices. Of these two plainsong the article noted that ‘the melody of the last [i.e. the Morning Song] is from the time of Charles IV.’ The instrumentation of the composition by Gabrieli was also listed, namely for 3vv chorus, ‘2 Cornetti, 4 Trombone, 2 violins’. Finally, the reported noted that all of the works except the Alleluja by Koželuh were being performed for the first time.

A review, signed ‘r.’, of this event was published by Dalibor 1/6/1862. This began by describing the concert as ‘interesting, and included some novelties.’ After listing the programme in performance order, corresponding with the above Prager Morgenpost report, the critic commented that ‘Considering that some of the works by German and Italian composers are already known, we will pass over them in silence and say something of the Czech compositions, namely about the new chorus for mixed voices „Důvěra v Boha“ by Karel Bendl, which in all truth merits laudable mention. The word setting is very good and the music is pertiently expressive; the part writing testifies to a good education, is always free, flowing and very effective. No less interesting is „Zdrávas Maria“ for mixed voices by V. Proška. This composition is thoughtfully and capably worked; expressively contrite and of an appropriately pious air. Finally, it is fitting for us to mention about two Old-Czech songs a) Má duše se nespouštěj, b) Chválu vzdejme mnohou (from the time of Charles IV), which to us serve as a beautiful illustration of the sublime songs our ancestors created for the church. The performances of all of the works under the circumspect direction of Mr Zvonař were dignified and fitting.’

The comment by the Dalibor correspondent that certain works in the concert were ‘already known’ seemingly conflicts by the note in Prager Morgenpost that all items but Koželuh’s chorus were being given for the first time. Possibly the latter was referring to the works being performed first time by the the Žofín Academy and not meaning in Prague as a whole.