• Prague Conservatory: participating institution, orch, vv
• KITTL, Jan Bedřich: director of ensemble, conductor

Lumír 5/3/1863 reported the ‘Konservatorium [Conservatory] arranges on 8th and 15th March concerts in the Konvikt [Hall].’

Prager Morgenpost 7/3/1863 published a detailed advance report of this concert, relating: ‘Concert information [Konzertanzeige]. The programme to the concert of the Conservatory that will take place on Saturday 8th March in the Konvikt Hall, contains the following numbers: First part: 1. Simphonie [Symphony] be Karl Schebor [Šebor] (left the Institute [ausgetretenem Institutszögling]) (new). Second part: 1. Konzerstück for 2 Waldhorns by L. Saar (new), performed by Franz Hoznourek and Johann Eichler (graduated 1858). 2. Psalm by Marcello, sung by all of the Singing School pupils. 3. Adagio and Rondo from the Fifth Concerto for violin by Molique, performed by Florian Stelzig (graduated 1858). 4. Concert Overture from the „Tausend und eine Nacht“ by Taubert. We will not miss this opportunity to draw the particular attention of the musical public – as we hear from the best source – that Schebor’s Simphonie [Symphony] was only put on the programme, because it bears unmistakable traces of an original talent, and the Psalm by Marcello... on account of its high prominence in the history of music. The Overture of Taubert calls for a brisk measure of general interest, in that its conception, interesting development and extraordinarily charming orchestration, inspires the attention of the connoisseur in fullest measure.’

Národní listy 6/3/1863 reported that the ‘First concert of the Conservatory of Music will be taking place on 8th March at 12 noon; second on 15th March at the same time in the Konvikt Hall. The programme has not reached us.’ On the follwing day Národní listy 7/3/1863 published an almost identical report as the above Prager Morgenpost 7/3/1863 text, reporting: ‘Programme of the first concert of the Conservatory of Music, which will take place on Sunday 8th March at 12 noon in the Konvikt Hall, is as follows: part I: Synfonie by K. Šebor, graduate pupil of the Conservatory (premiére). Part II: 1. Concerto for two horns by L. Saar (new), performed Fr. Hoznourek and J. Eichler (accepted [into the Conservatory] in 1858). 2. Psalm by Marcello (in G major), sung by all pupils of the singing school. 3. Adagio and Rondo of the 25th Concerto for violin by Molique, performed Fl. Stelzig (accepted in 1858). 4. Concert Overture by W. Taubert (new).’

A detailed review, signed ‘-ý.’, of this first Conservatory concert of the 1862/3 season was published by Prager Morgenpost 10/3/1863. The critic wrote: ‘Concert of the Conservatory. This year’s first concert of the Conservatory took place on Sunday in the Konvikt Hall. It began with a new symphony whose author, Karl Schebor [Karel Šebor], is a graduate of that institute. The first work of a young composer is necessarily of particular importance for the critics, and calls for the greatest attentiveness. In the present case we find ourselves allied with Karl Schebor. For his work is without doubt an accomplished study, surely preceded by long practise and a certain amount of experience. Nothing in the entire composition is vague, helpless or uncertain; nor do the elements become confused with one-another in wild disorder, but rather indicate a spirit of order. The conception, also, shows itself to be clearly and consciously formed; and everything already carries a sharply impregnated physiognomy. However, on the other hand certain details interfere with the work that, at least on first impression, cannot be brought into sympathy with its overall character. In addition, the frequent repetition of entire sections is not advantageous to the work. Nevertheless, it may generally be said that this symphony has been crafted with fresh, spirited industry and demonstrates a sincere effort on the part of the young composer. Had its strengths fully followed his will, this work would certainly have been a fully accomplished one. As regards this version, it fills me with great thought; it is practised, lucid in all parts and in good taste, and thus earns all the more credit, as one rarely finds such stylistic purity in young composers. This symphony, at the end of which first Schebor alone, and then together with the Director [of the Conservatory] Mr Kittl, was recalled [before the audience], formed the first half of the concert. The second half began with a concert piece for two French horns by L. Saar. The two soloists, Franz Hozwurek [Hoznourek] and Johann Eichler (entered [into the Conservatory in] 1858) did their best to overcome the difficulties that confronted them in every bar, so to speak, and for the most part they succeeded. The composition itself is one of the most trite I have ever heard. The third number was a Psalm by Marcello. It is written for soprano and alto voices with keyboard continuo and was performed by the entire female voices of the institution. Incidentally it must be noted here, on account of the significance of this Psalm, that Marcello, who died more than a hundred years ago as a prestigious state official of the Republic of Venice, may be said to be a thoroughly trained composer. The naiveté of his themes, the apparent simplicity with which he develops and alters them, the innocence and piety of the feelings that speak out, infuse us irresistibly with real emotion. In moments of heightened receptivity one feels that Marcello is singing of affliction and consolation from his innermost being into our own. Sometimes it is as though the sound of Handel’s spirit can be heard in the notes, dipped in sweetness. (They were contemporaries; it is known that Handel spent many years in Italy, and he outlived Marcello by 20 years.) The other solo pieces [in the concert] included the Adagio and Rondo from the well-known Concerto in E [major] by Molique, performed by Florian Stelzig (admitted 1858). The young pupil already has an attractive tone, a level of accomplishment and tasteful performance. The Academy concluded with a new Concert Overture by Teubert to Tausend und eine Nacht. This has a physiognomy à la silhouette, it has no ideas of significance and presents no great difficulties in performance; only the composer’s familiar manner with which the whole is put together reveals it to be one of his better works. It is wittily crafted and the instrumentation is piquant. The Director, Mr Kittl, who conducted this overture, was given a recalled at the end. The performance of all the pieces mentioned here was most respectable.’

Contemporary critical reaction to Šebor’s symphonies and early overtures performed during the period 1858-1874 was usually mixed. The review, signed ‘a-a’, of this 8/3/1863 Conservatory concert that was published by Lumír 12/3/1863 remarked that ‘The programme of this concert was especially interesting for the performance of a new symphony by the former pupil of the Conservatory, K. Šebor. This work, although it shows itself still to be the work of a beginner, is still in many respects successful. It is not a feeble (chablonovitá) work and proves that the composer has risen above the commomplace. Its ideas are burlesquely [frašovitě] intertwined and without profound development in any movement... This flaw is rooted in an imperfect knowledge of the rules of theory, and [a lack of] proficiency in harmonic unification. As to the value of the ideas, they are never commonplace, and they gain much from the exquisite orchestration. Of the four movements of which the symphony comprises, the first is the most successful and the Scherzo is the weakest. In the Allegro [1st movement] the composition is reminiscent of Mendelssohn, the basic idea in the Andante [is reminiscent] of the style of Auber, and the orchestration.. has many similarities to the methods of orchestration of R. Wagner.’ The review related that the work was performed well by the Conservatory orchestra under the direction of Šebor, who at the end was twice recalled before the audience.

The Dalibor 20/3/1863 review noted how Šebor’s musical talents had already been exhibited in the recent performance of an overture ‘which he composed while still a student of that institute [of the Conservatory, on 18/3/1860], and we must note unreservedly that since that period he has progressed extremely well in composition and in individuality. The first and last movements of this work, which are convincing with [their] deft orchestration and thoughtful conception, seem to us to be the most successful’. The complete review, which took in the first two Conservatory concerts of the season, related: ‘First two concerts of the Conservatory. Concerts of the Conservatory belong, as is known, to the most interesting musical productions that the Prague public annually hear. On Sunday 8th March the first concert of the Conservatory took place and gave us some pretty new novelties. First of all we heard a new Symphony in E-flat major by K. Šebor, graduate of the Prague Conservatory. Šebor’s talent is already familar from an overutre, which he composed while still a pupil of that institute, and we must note unreservedly that from then he has progressed extremely well in composition and in individuality. The first and last movements of this work, which are convincing with [their] deft orchestration and thoughtful conception, seem to us to be the most successful, and we hope that Mr Šebor through his assiduous studies very soon distinguishes himself in his instrumental works. The second novelty for the audience was the Overture by Taubert to „Tisíc a jedna noc“ [Tausend und eine Nacht], which in itself – although harbouring some frappant orchestral effects – to our mind shelters none of those beautiful stories. The student orchestra performed the Symphony directed by Mr Šebor, who was frequently rewarded with applause, and the Overture of Taubert directed by Mr B. Kittl, who at the end was vociferously applauded. An interesting number of this concert was the Psalm by Marcello for women’s voices, in which female pupils of the Conservatory participated. In the solo [items] excelled most of all the talented soprano Miss Zavrtalová, whose resonant and bell-like voice as well as her consummate performance surprised everyone. Miss Horynová commendably performed her own solo. In addition two pupils, Frant. Hoznourek and Jan Eichler, pupils of the splendid Prof. Janatka, gave a Concerto for two horns by Lud. Saar and distinguished themselves not only through a beautifully rounded tone but also in remarkable technique, ability and good performance. In the Adagio and Rondo from the Fifth Concerto by Molique revealed all good attributes of the excellent Mildner’s teaching, and we may affirm that he will become a solid virtuoso if he continues assiduously in his studies. All the soloists were rewarded with applause. The attendance was, for the reason that at the same hour a concert took place on Žofín, a little weak; however, the second concert which took place on Sunday 15th March in the Konvikt Hall, was numerously attended.’

Of the soloists participating in this concert the Lumír 12/3/1863 review noted that František Hoznourek, mistakenly spelt ‘Koznourek’, and Johann Eichler, both pupils of Jan Janatka the Conservatory’s Professor of horn, gave a ‘creditable’ performance of Saar’s Concertstück. The Psalm by Marcello was sung by a choir made up of female pupils of the singing teacher Gordigiani, with the solo parts performed ‘without expression’ by two ‘more advanced’ students. Their deficient performance was attributed by the Lumír critic to the ‘feeble energy of the old Professor of singing.’ Of the solo numbers the correspondent found the ‘most interesting’ to have been the ‘spotless’ playing by Florian Stelzig, received into the Conservatory in 1858. However, it was noted that ‘With this talented pupil we would wish for a more lively execution and a stronger tone.’ Wilhelm Taubert’s ‘characteristic new Concert Prelude’ was performed ‘precisely’ by the student orchestra.

This event is thus of particular interest for the première of a ‘new’ symphony by the nineteen year old Karel Šebor. From the descriptions given in the unsigned Lumír 12/3/1863 and Dalibor 20/3/1863 reviews of this concert, which specify the tempo designations of the first two movements and the key of the work, there seems little doubt this was the Symphony in E-flat major completed by the composer in 1861 and designated by him as ‘op.11’. Šebor’s manuscript score and the signed and dated orchestral parts in the Music Department of the Moravian Museum (CZ-Bm) in Brno (manuscript A21.530) suggest that the work had first been played in November 1862. However that occasion probably constituted a trial rather than a concert performance given that the Conservatory’s first public concert of the 1862/1863 season (i.e. between autumn 1862 to late spring 1863) was this event on 8/3/1863. Šebor’s four extant symphonies, written between 1858 and 1867 are singularly important yet unfortunately neglected works in the span of nineteenth-century Czech Romantic symphony writing. In particular they provide interesting stylistic comparisons and foils to the early symphonies of his contemporary Antonín Dvořák. Šebor’s interest in the genre was no doubt derived from his teacher, J.F. Kittl, one of the most important Czech symphonists of the nineteenth century.

Šebor himself directed the performance of his own symphony, with the remainder of the concert conducted by Kittl. Stelzig, Eichler and Hoznourek were pupils of the Conservatory who were accepted into the school in 1858. According to the Lumír 12/3/1863 source the audience was ‘quite numerous’, but the Dalibor 20/3/1863 review remarked that ‘The attendance was a little weak, on account that a concert took place at Žofín at the same hour.’ The programme is listed in performance order, according to the Prager Morgenpost 7/3/1863 report and the Lumír 12/3/1863 review. The work by Saar was not mentioned by the Dalibor review.