• Society of Musical Artists: organizing institution
• Cecilia Society: participating institution, chorus, orch
• Estates Theatre chorus: participating ensemble, chorus
• Estates Theatre orchestra: participating orchestra, orch
• Prague Men's Singing Society [Prager Männergesangsverein]: participating institution, chorus
• Žofín Academy: participating institution, chorus, orch
• unspecified amateurs: participating ensemble, chorus, orch
• unspecified choristers from Prague churches: participating ensemble, chorus

Early news of the forthcoming year’s activity of the Society of Musical Artists [Jednota hudebních umělců / Tonkünstler-Gesellschaft] appeared in Bohemia 23/10/1858. This noted that the next Christmas production of the Society ‘which comes under the direction of Herr Capellmeister F. Škraup [Škroup]’ would be of Die Zerstörung Jerusalems, a work ‘already performed here several times and received with exceptional acclaim.’ The text also noted that to commemorate the anniversary of his death, Handel’s oratorio Samson had been provisionally allotted to be performed in the Society’s Easter concert. Prager Morgenpost 23/10/1858 published the same information concerning both the Samson oratorio and the forthcoming Die Zertstörung Jerusalems performances.

Detailed news of this concert was published by Prager Morgenpost 9/12/1858. This recorded that the Tonkünstler-Gesellschaft was to perform Hiller’s oratorio on 23 December in the Žofín Hall, and listed the Prague musical institutions and principal individuals participating in the performance. These were to be the ‘Gentlemen and Ladies of the Sophien-Akademie [Žofínská Akademie / Žofín Academy], the Cäcilien-Vereins [Cecilská jednota / Cecilia Society], pupils of the local Conservatory, the Orchestra of the Königliches Ständisches Theaters [Královské stavovské divadlo / Royal Estates Theatre] and many dilletantes.’ The soloists were Misses Čermak [Čermáková], Ferles [Ferlesová], Grimm [Grimmová], la Motte, Müller [Müllerová], Panaotowitsch [Panatovičová], Skraup [Škroupová], Zabalak [Zabalková] (pupil of the Singing Institute of Capellmeister Franz Skraup [František Škroup]), and the Gentlemen: Klimes [Klimeš], Petak, Steinecke and Strakatý. On 18/12/1858 Prager Morgenpost again reported the imminent performance of the oratorio, noting the participation of ‘Miss Ferles [Ferlesová] and many other pupils of Kapellmeister Mr Franz Skraup as well as the baritone Mr Hardtmuth and the Tenor Mr Klimeš, a native dilettante artist of Chrudim.’

The date, time and venue of this concert by the ‘Society of Artists for the benefit of its Widows’ and Orphans’ Institute’ was relayed in the Tageskalender of Bohemia 23/12/1858. Also appearing in that issue of the newspaper was a large advertisement for the event. This carried details of date, time, venue, organizing body, title of the concert, and note of the work to be performed. In addition it listed the participating Prague musical institutions and principal performers and roles (although not both together). The list of those appearing in the production was identical with that published by Morgenpost 9/12/1858 except that among the soloists Steinecke was replaced with the Court Opera singer Hardtmuth. The performance was reported to begin at 5pm and to end at 7pm.

Prager Morgenpost 24/12/1858 published a substantial review, signed ‘R.’, of the work and the occasion. This began by noting that the composition had previously been given in Prague in the Estates Theatre in 1842. Local correspondents had then apparently been acerbic in their judgement and condemnation of the work, treating it ‘almost as an opera’, specifically condemning Heller’s use of recitative and his construction of arias. Since then the Prager Morgenpost author noted that times and opinions had changed and that the work was now regarded as ‘a masterpiece, which in all respects merits unconditional approval, and... found this [yesterday].’ The first impression given by the work was said to be an affinity with Mendelssohn. However, this soon gave way to a realization that such an affinity ‘exists only in the idiom, in the formal handling of material their essence [i.e. the work of the two composers] is widely distinct.’ Hiller’s individual writing was in outline sharply defined by ‘specific characteristics of detail, [in] an alternative impulse to the expression, in ... noble but also startling harmony, in diverse sound colour... [with] well-considered orchestration distinctly prominent, whilst in Mendelsson the content is constantly animated and uniquely gilded’. Mendelssohn’s use of form was also noted to be freer and more original, more conducive to a more elevated aesthetic content. However, the critic warned about such parallels being drawn in this ‘short analysis’ comparing the two masters given that the judgement had been aided by only a brief, cursory glance at the score.

Of the performance itself the Prager Morgenpost 24/12/1858 reviewer noted that ‘the solo parts stimulated particular interest, through Mrs Czermak [Čermáková], Ferles [Ferlesová], Grimm [Grimmová], la Motte, Müller [Müllerová], Panaotowisch [Panatovičová], Skraup [Škroupová], Jalabák [Jalábková] (a pupil of František Škroup’s Singing Institute), and through [the gentlemen] Klimesch [Klimeš], Peták, Hardtmuth, and the Court Opera singer Strakatý, who had all kindly agreed to participate in the ensemble. Particular attention was then focussed upon Ferles who, it was noted, was ‘still a beginner, yet displays the most beautiful hopes. Her voice is a full-toned mezzo soprano of soft sweetness in the middle range, but not without flashes of a hardly noticeable sharpness in the higher notes.’ As an example the critic pointed to her performance in the twelfth number ‘Erneuert froh des Festes Tänze’. Her intonation was thought to fluctuate and this was attributed simply to her inexperience in singing in the company such a large orchestra. In the ‘exquisitely charming ’ aria ‘Mit diesen Düften steige unser Lied empor’ she sang with great accuracy and ‘undoubtedly would have gained still greater applause’ if appropriate expression had graced her performance. Of the other soloists Miss Panaotowisch [Panatovičová] was complimented on her singing of the B-flat major aria [unspecified], and with Mr Klimesch [Klimeš] on their ‘very expressive’ performance of the Duet ‘O wär mein Haupt eine Thränenquelle’. Mr Hardmuth, whose ‘noble, fully skilled bass voice ... and wholly dedicated, faithful rendition’ naturally received lively approbation, and particular ‘after his last recitative [he] received the fullest appreciation’ of the audience. The ‘remaining solo parts were very good.’ The work as a whole of ‘wonderful, even imposing beauty, richly Tone-painted’, was noted to have made a very favourable impression on the ‘numerous’ audience. ‘Among the numbers which drew the most animated applause was undisputably the Chorus of Israelites (no.40) ‘Das Entfetzen bricht herein’, actually the highlight of the work, and then the following March and Chorus of the Babylonians ‘Heil Die Nebuchadnezar!’ in C major, which had to be repeated.’ The performance in general did not demonstrate ‘the highest degree of precision’; this was attributed to the ‘exquisitely diverse forces’ and to there apparently having been only two preceding rehearsals. Even allowing for the all the difficulties of the work ‘for instance ... the exorbitant requirements in the orchestral part’ the performance still adequately presented ‘a complete profile of the score in its full magnificence’. The success was due in great part to the ‘energy and prudence’ of Franz Skraup [František Škroup] who with his own calm disposition conducted the rehearsals and the performance, and to whom the audience paid tribute stormy [stürmische] curtain calls.

The Dalibor 30/12/1858 review, signed ‘R.’ although judging by its critical content a different ‘R.’ from that of the Morgenpost text, remarked that the oratorio was a work of ‘melodic beauty and spirited individuality’, ardent and dramatic in its expressive content, with successful and surprising use of harmony and ‘deeply considered’ orchestration. ‘As to the performance, we cannot forgive the directors of this concert a false step, which they permitted to allow, namely to give the [solo] parts of this masterly work to beginners to sing, and to Mr [Josef] Klimeš, an amateur from Chrudím... Although Mr Klimeš has a pretty tenor, with which in the provinces he is able to make enough of a furore, a pretty voice is inadequate if it is not combined with deliberation, delivery, and thorough training, [each] of which Mr Klimeš is quite lacking. Mr Klimeš is, if we are not mistaken, self-taught, for he does not have any idea about economy of breath, about diction and considered performance. Miss Ferlesová is a solid singer, yet her voice is not even, and particularly in the higher register is too shrill... Mr Hartmuth [Hardtmuth], who excelled best of all, in the true sense of the word performed artistically, and his sympathetic voice was [like a] soothing balsam on an aching place, which the ear of the public suffered at the performance of this oratorio. The chorus and orchestra under the direction of Mr Škraup [Škroup] commendably held its ground and received acclaim.’ The performers comprising the chorus and orchestra were not specified by the review. During the late 1850s and early 1860s the benefit concerts arranged by the Society of Musical Artists usually included as participants members of the Cecilia Society, the Žofín Academy, the Estates Theatre, members of the Conservatory, and various amateurs. The review noted that Miss J. Panatovičová also performed as a solo vocalist in this concert.