Prague Concert Life, 1850-1881

Event title:

Benefit concert in aid of the reorganisation of the Prague Institute for the Poor

Venue: Estates Theatre

Event type: Art music culture

Date: 25/03/1859 7pm

Season: Lent

Beneficiary: Prague Institute for the Poor [St Bartholomew Poor House]

Programme comprising, part 1:

General participants:
  • Estates Theatre orchestra: participating orchestra
  • NESVADBA, Josef: director of ensemble
BARGIEL, Woldemar : Overture zu einem Trauerspiel, orch, op.18
MENDELSSOHN-BARTHOLDY, Felix : aria Höre Israel des Hern Stimme Hear ye, Israel part 2 of oratorio Elias (Elijah), v, orch, op.70
     • Mellerová, Barbora : v
MOZART, Wolfgang Amadeus : Concerto for piano and orchestra, pf, orch, nr.21, C major, K467
     • Oxford, Amalie : pf
HANDEL, George Frideric : aria and chorus Sei gegrüßt, o Sonnenpracht part 2 of oratorio Jeptha, solo v, female vv, HWV70
     • Miková-Bennewitzová, Emilie : v
     • Estates Theatre chorus: f vv
HANDEL, George Frideric : chorus unspecified, from oratorio Jeptha, mix vv chorus, HWV70
     • Estates Theatre chorus: mix vv chorus
HUMMEL, Jan Nepomuk : Fantasie for piano and orchestra Oberons Zauberhorn, pf, orch, op.116
     • Oxford, Amalie : pf

Part 2:

SCHUMANN, Robert Alexander : Symphony Spring, orch, nr.1, B-flat major, op.38

Commentary:

The programme of this concert, as given in a report published by Dalibor 20/3/1859, differed in various details from the programme noted by sources published on the day of the event. The earlier Dalibor announcement stated that either Bargiel’s overture to Romeo and Juliet, or an Overture in D major by J.F. Kittl [op.22] would be performed. The work by Mozart was first described as a serenade and not a concerto. No mention was made by the preliminary source of the programme including a Fantasie by J.N. Hummel; this text also related that the programme was to contain a ‘concert aria by Beethoven’ and an ‘aria with chorus’ from Handel’s oratorio Jeptha. Evidently, no aria by Beethoven was actually performed, and two different extracts, an aria with chorus and a separate chorus, were given from the oratorio. More precise details of the programme appeared in the similar advertisements that were published by Bohemia and Prager Morgenpost 25/3/1859.

The concerto by Mozart was described by the Bohemia and Prager Morgenpost 25/3/1859 sources as ‘nr.16’ in C major. Based upon the numbering of these concerti then current this would certainly have been the work now known as no.21, K467.

The Dalibor 1/4/1859 review (pp.78-79), signed ‘L.’ included enthusiastic descriptions of the works and their performances. Of the compositions themselves, the Dalibor critic, perhaps conscious of the presence in Prague of Clara Schumann, greatly appreciated the ‘magnificent Symphony in B flat of R. Schumann, in which is married surprising genius with daring fantasy.’ The performance by Amalie Oxford ‘from England’ drew the most detailed commentary, with the note that ‘Mrs Oxfordová is a solid pianist of the old school; her action is quite elastic and clean, however she falls short of actual strength. She played both pieces very delicately and with polish, and convinced us of her great technical ability.’ The orchestra ‘performed [. . .] excellently’, being directed by Josef Nesvadba ‘with the greatest precision and certainty’.

The programme is reproduced in order corresponding with the similar advertisements published in Bohemia 25/03/1859 and Prager Morgenpost 25/03/1859. The event was specified as finishing at 10pm.



Summary of sources:

Dalibor, hudební časopis s měsíční notovou přílohou (20/03/1859)
Prager Morgenpost (25/03/1859)
Bohemia (25/03/1859)
Bohemia (26/03/1859)
Prager Morgenpost (26/03/1859)
Dalibor, hudební časopis s měsíční notovou přílohou (01/04/1859)