• Music Institute of Celestin Müller [Humanitarian Music Society]: pupil(s) of institute

The Dalibor 20/3/1859 source listed the dates of all six soirées that were to be given by Müller’s institute and noted that the final one would take place on 16/4/1859. However, according to the unsigned review appearing in Dalibor 1/5/1859, and in reports given in the other specified German periodical sources, the date of this last soirée was at some point evidently changed to 25/04/1859. No reports of this change seem to have been published around the originally intended date, nor was any event listed in the Bohemia 16/4/1859 Tageskalender.

The substantial review of this event published in Dalibor 1/5/1859 enthused over the success of Müller’s Music Institute as demonstrated in this sixth and final soirée. The Institute ‘has its own particular guidelines for teaching the piano. It is founded upon a certain mechanical apperatus attached to the piano, in order to keep the hand of the beginner at the piano evenly placed. However, the further development of technical ability happens freely. How this method benefits the pupils, we saw in Mr Müller’s 6 soirées. The most interesting entertainment was the sixth on 25 April, the programme of which contained mainly compositions by Czech composers. We heard a magnificent Idyll by W.H. Veit, which Miss F. Jägrová performed decorously, then the witty variations „Krásná Minko“ [Beautiful Minka] by the hugely talented Jind. Pech, the difficult part of which the young Antonín Voves happily untangled; next Loreley by Leop. Zvonař, in which Mr K. Bendl splendidly excelled, the Overture to Othello of A.V. Ambros and a concert piece by Weber, the last composition which Miss Turnerova gave completely effectively. The rest of the pupils aquitted themselves sturdily and worked out their parts with precision and surety. A great advantage of this institute is that song is also taught. Mr Eminger, the well known theatre singer, has taken on this task, and he proved that he knows how to gain great strides from his pupils in a short time. Of his pupils it is fitting to name Miss Berta Wahleova, who with her sonorous voice prettily sang an aria from the opera „Dcera pluků“ [La fille du régiment]. Next performed was the terzett from that same opera by Misses Wahleova, T. Ledererova and M. Hassenteuflova, so precisely that it had to be encored.’

No review of this event was published by the German newspapers Bohemia, Prager Morgenpost or Prager Zeitung.