• 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

Those Prague music societies and institutions that usually participated during the late 1850s in the bi-annual benefit concerts arranged by the Society for of Musical Artists in aid of the Institute for Widows and Orphans, included the Estates Theatre orchestra, members of the Žofín Academy, the Prague Conservatory, members of the Cecilia Society, and other unspecified amateurs. From the 1859-1860 season the Prague Mens’ Singing Society also took part in these performances.

News of this event appeared in both Prager Morgenpost and in Bohemia 23/12/1859 in similar paragraphs listing the venue, time, programme, participating institutions and soloists. The performance was to begin at 5pm and the text stated that the concert would end at 7pm. Details of the concert were also recorded in Bohemia’s Tageskalender of the same day.

The post-concert report that was published by Dalibor 1/1/1860 specified that the soloists comprised Miss Emilie Prausová, Miss Josefa Schmidtová, Albert Eilers, Josef Reichel, and Karel Strakatý. Most of this article comprised a critique of the oratorio. Although the work was described overall as ‘magnificent’, it was also considered to be variable in quality. The libretto, for example, ‘has many faults’. In the second part there are actually only two numbers in which the distinguished/majestic, fiery spirit of Paul stands out and into which the composer could invest all the ... force of his art. Over this sometimes slight [hubený - lit. thin, slender, slim, but also emaciated or paltry] text Mendelssohn unfolded the complete abundance of his talent.’ In consequence the oratorio was thought to be tiring to the listener, containing much good music applied to weak texts of little dramatic significance or real expression. Minor criticism was levelled at miscalculations in the composer’s orchestration, for example, in the deployment of a prominent flute part in the aria from part 2, ‘Seid uns gnädig, hohe Götter’, but his writing overall drew considerable praise. The handling of form was thought to be precise yet still successful. The aesthetic content of his music was never felt to lapse into a superficial or commonplace style. Of the performance the critic remarked that it was ‘in all respect[s] excellent, under the masterly direction of Mr Fr[antišek] Škroup. The audience was very numerous.’