Prager Zeitung 3/5/1863 published news, dated 2/5/1863, of this concert: ‘On Monday afternoon at 4pm takes place in the Žofín Island Hall a concert in which Misses Brand, Kirchner [Kirchnerová], Proksch [Prokšová] and Zawiszanka, and Messrs Blaha and Nachbauer, will participate.’

A review, signed ‘-ý.’, of this concert was published by Prager Morgenpost 6/5/186. The critic reported: ‘Concert. For the benefit of a musician afflicted by illness, a concert was held on Monday in the Hall of the Žofín Islan whose programme left nothing, in a qualitative sense, to be desired. The proceedings opened with a performance by Miss Hildegard Kirchner [Kirchnerová] and Marie Proksch [Prokšová] of Beethoven’s Sonata op. 24 for piano and violin. Miss Kirchner also played the Reverie by Vieuxtemps, while Miss Proksch performed an aria by Pergolese, a Notturno by Seeling and a Gallopp by Rubinstein. On this occasion Miss Kirchner’s playing caused quite a sensation. The circle through which her virtuosity moves is a larger one; her performance has an overarching calm that draws together and puts into order the overall mass; and more specifically, such elegance that works this beautiful material into the finest of delicacies and flirts with it charmingly. Alongside the great brilliance of her technique her playing has a clarity that is never tainted with so much as a breath of headlong passion. The performance, also, was once again smooth and most graceful. What was said in the papers of the merit of Miss Proksch concerning her previous appearance in the concert hall she did not merely confirm, but played instead with even greater bravura than before. In particular it was her sensitive execution of the melodic sections and the exceptionally tender and yet entirely clear piano in the most rapid and difficult figures that earned her well-deserved applause. In her performance of the Notturno by Hans Seeling, Miss Proksch demonstrated in particular that she understands the importance of firmly apprehending the character of a composition, and to mingle herself with its soul and spirit. In passing, this may be a suitable place to remark that it is high time for Seeling’s work to be brought to the attention of the public. This composer, sadly torn from his art so early, left behind treasures, of which several of his most successful compositions are already to be published in Leipzig, that would shine in the foremost rank of musical literature. Undoubtedly Seeling was an important talent, and those who truly value music may look with anticipation to its fruits, when they are finally brought before the public. In them one finds a creative ability of elemental power, a character that freely and with self-awareness sets its own path, and, together with freshness of spirit, possesses a full mastery of its material. Additional numbers in the concert included a declamation by Miss Elise Brand and then several vocal items. Mr Blasa [Blaha] sang a big aria by Josef Haydn with great effect; Mr Nachbaur sang Beethoven’s Adelaide with much inner expression; and Miss Zawiszanka sang several Slavic songs, by Komorowski, Chopin and Count von Zĕlenski, interpreting them in a way appropriate to their authors’ intentions. All performers were rewarded with frequent applause and recalls before the audience.’

Prager Zeitung 7/5/1863 also published a review, signed ‘!!’ of this concert, reporting too upon the concert given on the previous day (3/5/1863) in the Žofín Island Hall. The source reported: ‘Of the two concerts, which took place on Sunday and on the following day in the Hall of the Žofín Island, Sunday’s [concert] was of the opera singer Mr Joseph Krén, Monday’s [concert] was arranged for the benefit of an injured musician [zum Besten eines verunglückten Musikers]. Common to both was that in comparison with other Žofín-Island-Hall-Concerts they were modestly attended, and both with few exceptions comprised only performances of solo pieces... In Monday’s concert the pianist Miss Marie Proksch [Prokšová] played by herself an aria by Pergolese, a Sonata by Domenico Scarlatti, then a Galopp by Rubinstein, in company with the violinist Miss Kirchner Beethoven’s Sonata op.24. The latter performed after the well-known Reverie by Vieuxtemps. The programme also contained a declamation performed by Miss Elise Brand... Of the singers initially we were captivated by the interesting artiste Miss Zawiszanka through an expressive performance of three Polish songs, the sonorous bassist Mr Blaha through a bass aria by Joseph Haydn, and the tenor Mr Nachbauer with Beethoven’s frequently heard Adelaide.’

The Nocturne by Seeling cannot be identified, there being three works by this title in the composer’s published output. Excepting that the concert commences with Beethoven’s violin sonata, the order of the programme cannot be ascertained from the periodical sources.

The ill musician who was the beneficiary of this concert was not identified in the specified periodical source reports.