Tagesbote aus Böhmen 12/11/1857 published advance news of this event, noting: ‘Sunday 15th Nov. takes place in the Hall of Žofín Island at 12 noon the first Concert of the Cecilian Society [Cäcilien-Vereins]. Being performed will be the newest work of Ferdinand Hiller: „Die Weihe des Frühlings (Versacrum) oder die Grüudung Roms“. The solo parts have kindly been taken by Mrs Botschon-Soukup, Mr Freny and Mr Lukes.’

A review of this Concert appeared in Tagesbote aus Böhmen 16/11/1857. The correspondent reported: ‘The Cecilian Society, whose directorate is in Prague indisputably the most active and tasteful in the presentation of novelties, yesterday commenced its year of activity (the 18th of its existence), with a new composition by Ferdinand Heller, whose name is best known in Prague in connection with the performance of his magnificent „Zerstörg. Jerusalems“. The new work, which one cannot strictly designate as either cantata or oratorio, goes under the title „Die Weihe des Frühlings“ (Ver sacrum), the saga of the Foundation of Rome through settlers from Albalonga in poetic form[. In which] where in Alba, to thank the god of war for a victory over the Etruscans, the priest of Mars prepares as the highest Spring gift the sacrifice of a human couple, but at the moment the steel strikes, is taught through the revelation of God in columns of flames that the victims will not die but „where seven steams are rushing“ will raise a generation who will rule the Earth. The text, by L. Bischoff in Cologne, demonstrates not only the clarity of structure and the roundness in form of expression that you may expect from the refined taste and aesthetic learning of the witty writer, but also to the felicitous combination of both lyrical and dramatic elements, and to the most brilliant pages of the composer, whose strong, bold treatment of the chorus and the rich, striking orchestral painting, which in „Die Weihe des Frühlings“ as much as in the oratorio „Jerusalems“, pervades everywhere with the life force of creation, in the energetic and yet nowhere over-stretched application of the forces. The two choirs depict the setting out and the struggles of the victorious warrior, certainly not easily depicted in musical expression, but which Heller was able to provide through his great talent for characterisation. In between the two well-known chorus (C major), and the imposing triumphal final movement of Part I (A major), is inserted as a mild Intermezzo a chorus of Vestal Virgins (F major), which in the cut of the melody, in the arrangement of the voices and in the figurations of the orchestra carry the indelible stamp of Wagner. Among the ensembles of the second part is the beautiful Pastoral of the Shepherds and Country People, who deliver their rite of Spring (B-flat major), and the final chorus, whose incessant march of destiny is depicted in noble, measured tones of the highest merit. The actual sacrifice is brief, a necessarily dramatic treatment in a movement very characteristic in detail. The solos with Hiller stand behind the ensembles, because they do not develop individual melodies but rather move in the measured recitative of Wagner or in a declamatory arioso. This is particularly true of the Leader and of the Priests, manifest in the latter part in melodious song at particular moments such as the A major movement „Was in dem Frühling leibt und blüht“, and then the introduction to Part 2. The song of the Priestess of Vesta (A-flat major) is very beautifully presented and echoed by the female chorus. The three soli were twice very interestingly combined; even with the entire orchestra (G major), where the final phrase is truly awesome, and later in the very lovingly crafted vocal trio in A-flat major. The orchestra supports the colossal vocal ensemble without being overwhelming, but with great richness of colour and unusually brilliant nuances of musical character. The performance was worthy of this beautifully formed work. Mrs Botschon-Soukup and Mr Lukes, whose evident skills we welcome in the concert hall, took the soprano and tenor parts. Mr Freny splendidly executed the great part of the Priest. The ensemble was also quite proficient, especially in the extensive and nuanced choruses. The very numerous audience demonstrated the most vigorous enthusiasm for the two Finales, and for the beautiful vocal Terzet.’