• Cecilia Society: participating institution, vv, orch

Advance details of this event were reported by Prager Morgenpost 17/3/1863. The source noted: ‘Cecilia Society [Cäcilien-Verein]. The third concert of the Cecilia Society, which takes place in the Žofín Island Hall on Thursday 19th March, presents the following programme: Part I: 1. Symphony in D major by Philipp Emanuel Bach; 2. Drei geistliche Lieder for alto voice, chorus and orchestra by Felix Mendelssohn-Bartholdy, performed by Mrs Prochaska Schmidt [Schmidt-Procházková]. Part II: Scenes from Goethe’s „Faust“ for solo voices, chorus and orchestra by Robert Schumann (for the first time [in Prague]) „Faust’s Verklärung“ – Mrs Prochaska Schmidt [Schmidt-Procházková], Miss Horina, Miss Pisařowitz [Pisařovicová], Miss Pech [Pechová], as well as Messrs Bernard, Eilers and Kren, have with particular kindness promised to give their names to the solo parts.’

A detailed review, signed ‘M.’, of this event was published by Politik 21/3/1863. The critic reported: ‘On the 19th of last month the Society of St Cecilia gave its third and final concert of this season in the Žofín Island Hall, and it appeared to be a continuation of the first concert, given on 6th December last year, in that it featured the remaining part of Schumann’s music to Szenen aus Goethes Faust, the third section, Faust’s transfiguration (the conclusion of the second part of the tragedy). Of that [previous] occasion we elucidated with a few words in no.85 of this publication last year, the first two parts of this highly interesting composition, and gave too a brief general outline of the overall composition; now there remains only to discuss this third section in a little more detail. Like the first two parts, it is an exceptional and wide-ranging composition, divided into solo, choral and ensemble movements, and comprises seven numbers. As already remarked concerning the musical emphasis in the first sections, here again we encounter – yet to a higher degree – images of a fantastical and mystical symbolism that in essence stand far removed from musical treatment in any conventional sense. Here again Schumann strives to glorify the spirit of the poetry through music and has, at the most important moments, achieved this ideal; it must however be admitted that sometimes between these moments there are sections comprising more reflection and development than offering a natural flow of musical ideas, or presenting rhythmic and harmonic novelty rather than a clarity of tonal expression. This fault is in the main, incidentally, caused by the expression in words of the mysticism mentioned above, where it cannot be conveyed in music. Among these sections we count, for example, immediately at the start of the chorus of the holy Anchorites, „Waldung, sie schwankt heran“ (F major); then no.2, the tenor solo of Pater eustaticus in D minor; also, to some degree, the following numbers, in which the composer first finds himself in his element... the brilliant contrast of the baritone Pater Seraphicus to the Chorus of the Cherubs [heilige Knaben]. Now comes the superb fourth number with its alternation, brilliant and highly characteristic, of young and mature angels and the Cherubs, finding its powerful conclusion with the words „Gerettet ist das edle Glied“ in the grand ensemble that recapitulates the opening motif in B-flat major. Following an arioso for baritone of Doctor Marianus (Faust), whose effect could in no way be harmed by adopting a faster speed, no.6 begins in the same vein, with worthy and serious appeal, the section „Dir, der Unberühbaren“, after which the lovely Chorus of the Penitent Women greets the appearance of the Mater gloriosa; – Ensemble in C major with the freestanding voices of the magna peccatrix, mulier Samaritana and Maria Aegyptiaca. – The chorus joins in Gretchen’s delightful and momentous „Neige Du, Ohnegleiche“ (from now on una Poenitentium) in an elevating manner (A major). Now comes the Chorus mysticus (C major), „Alles Vergängliche ist nur ein Gleichniß“ as a substantial conclusion to this fascinating composition. Schumann composed two versions from the point „Das Ewig-Weibliche zieht uns heran“; here we heard the first version of this concluding chorus. The solo parts were performed with all artistic alacrity by the ladies Horina [Horinová], Prochazka-Schmidt [Schmidt-Procházková], Pisařovic [Pisařovicová] and Pech [Pechová] and the men Bernard, Eilers and Kren. We particularly congratulate Miss Horina [Horinová], whom we have known since the first concert of the Conservatory this year as a talented novice, for her fine execution of a Schumann vocal task that, while not extensive, nonetheless is highly spirited, the singing of which is always a great honour for a truly artistically gifted singer. Before this section Mrs Prochazka [Procházková] sang three sacred songs by Mendelssohn with chorus and orchestra accompaniment, which were originally composed for an alto voice with organ accompaniment; this performance was also of great interest. The concert began with the Symphony in D [major] by Philipp E. Bach that has once previously been performed by the Society and is of great interest in terms of art history. The massive orchestral forces came together with the best will and precision in playing; all of the performances were pleasing, and the conductor, Mr Apt, was appropriately called back at the end of the concert. Attendance was very high.’

Prager Morgenpost 22/3/1863 published a shorter review, signed ‘ý.’, of this concert. The correspondent wrote: ‘Music. On Thursday there took place in the Žofín Island Hall the third concert of the Cecilia Society. This was opened by tha D major Symphony by Philipp Emanuel Bach, already heard here two years ago. Following this were three Sacred Songs [drei geistliche Lieder] for an alto voice, chorus and orchestra by Mendelssohn-Bartholdy. They may be counted amongst the best that Mendelssohn wrote. The third song (E-flat major) in particular made a profound, lasting impression. Mrs Schmidt-Procháska [Schmidt-Procházková], who took the solo part, again confirmed the veracity of the favourable reputation that she has gained for herself in concerts, especially when she performs in compositions of sacred music. The close of the concert was made by Schumann’s music to „Faust’s Verklärung“ [Faust’s Transfiguration]. By this stage of Göthe’s book the action is already at an end. Had Göthe recompiled this so ostentatiously dark book (by this I mean the whole two parts of his „Faust“) into one smaller, lighter volume with clearer content, he would have not so greatly have lost his way. Also, if anyone else had written this work, we would have put it down to the work of a madman. In conjunction with a text that in itself is often unclear, so great difficulties are caused for the composer who strives to surmount its hinderances. To be sure, the content of the Faust music is characteristic and full of power; as it stands alone this music may be called beautiful, yet descends into heaviness. The immortal tone painting becomes exhausted; the ear longs for a little that is positive; that the music - vainly. Schumann’s spirit is already beset with clouds, his confusion vested in want for expression and in incomprehensible instrumental effects, difficult and ostentatious phrasing cloaking the sober thoughts of his mind.’ The critic then expressed regret that he should feel such sentiments and that he found it necessary to express them in the place of this review. Of the performances in the concert overall, it was noted: ‘The performance of all three compositions testified again to the recognized proficiency of the Society... The concert was well attended.’

The first two parts of Schumann’s Faust music had been performed by the Cecilia Society under its director Antonín Apt on 6/12/1862. The soloists on that occasion comprised all of those listed in the Prager Morgenpost 17/3/1863 report, with the exception of Horinová. She presumably took the part of Gretschen who during the December 1862 concert had been sung by Eleonora z Ehrenbergů.