Detailed and almost identical advertisements, both listing the complete programme of this concert, were published by Prager Morgenpost and Bohemia on 28/03/1859. Admission prices were noted as costing 3fl for the circle, 1fl 50kr for the hall [i.e. the stalls] and 70kr for the gallery. Tickets could be purchased from the music seller and publisher Robert Veit from the shop ‘zum Beethoven’ in Neue Allee [Nové alej] nr.116.The advertised programme was in two halves:

Part 1:
1. R. Schumann: Quartet for piano and strings, op.47
2. F. Schubert: song Kriegers Ahnung [no.2 from the song collection Schwanengesang], performed by Mr Hartmuth
3 a) W.A. Mozart: Andante
3 b) J.S. Bach: Fugue, A minor

Part 2:
4. L. van Beethoven: Variations, pf, op.35
5. R. Schumann: songs, performed by Mr Hartmuth
6 a) R. Schumann: Aufsehwung and Warum?, from Fantasiestücke, pf, op.12
6 b) C.M. von Weber: Scherzo from Sonata, pf, A-flat major

This programme did however change. Prager Zeitung 30/3/1859 in its review of the event noted that owing to hoarseness Hartmuth [Hardtmuth] had decided not to participate and therefore his wife sang in his place. She did not perform the advertised works, therefore some confusion exists between the various post concert reviews as to what she actually sang. Given that the Prager Zeitung review specified the reason for the programme change and was more detailed in its identification of the other works performed in the concert, we might suppose that its version of events was most accurate. The newspaper stated that Mrs Hardtmuth gave Mozart’s Veilchen, Schubert’s song ‘Danksagung an den Bach’ from Die Schöne Mullerin and an aria [Deh vieni, non tardar] of Susanna from Figaros Hochzeit [Le Nozze di Figaro]. These details are confirmed in the review of the concert published by Bohemia 29/03/1859 which listed Mozart’s Veilchen, an unspecified song from Die Schöne Mullerin and an aria of Susanna. The latter is referred to as replacing the originally  programmed songs by Schumann, and therefore was probably given as the second item in the second part of the concert.

The information contained in the two other detailed reviews of the concert published by Prager Morgenpost and Dalibor was strangely divergent from the information given in Prager Zeitung and Bohemia. Prager Morgenpost 30/3/1859 related that besides Mozart’s Veilchen Mrs Hardtmuth sang ‘Liebesbotschaft (G-dur)’, and instead of the Schumann songs she performed ‘Schumann’s Garten-Arie aus “Figaros Hochzeit”’. The faulty reference to the Figaro aria is simple error with ‘Schumann’ mistakenly given instead of ‘Susanna’. However, the reference to Liebesbotschaft, the opening song of the song collection Schwanengesang is puzzling. Neither does the specification of key help identify this as a straightforward error, for Danksagung an den Bach and Liebesbotschaft are both in the key of G major. These same pieces as listed by Prager Morgenpost appeared in the Dalibor 1/4/1859 review of the concert. The programme given in this database record has been compiled on the basis of the information given by the Prager Zeitung and Bohemia sources, with the complete programme order maintaining that originally advertised. In other details the various sources correspond, with the exception of the piano work by Chopin. The Prager Zeitung review named this as an Etude in A-flat major, Morgenpost a Scherzo in A-flat major (almost certainly confusing it with the Weber Scherzo since that piece was missing from the Morgenpost review text), and Bohemia simply as an ‘Impromptu’. For the purpose of this event record the item has been left as unspecified.

The review published by Dalibor 1/4/1859 enthused about Clara Schumann’s playing, commenting that ‘Her technical ability has in itself the seal of greatest perfection; her delivery is ardent, full of feeling, refined, her sentiment deep and genuine, her understanding penetrating and ingenious. Mrs Schumann brings each work to life, she penetrates the deepest secrets of their pages and presents the most delicate nuances... After each piece she was recalled many times, and on general demand she repeated the Gavotte by Bach and the Canonic Study by [Robert] Schumann, and added two more pieces by Mendelssohn and Schumann.’