• Cecilia Society: participating institution, chorus, orch
• APT, Antonín: director of institute, conductor

Der Tagesbote published an early notice of this concert, on 8/2/1860. However, this single sentence report related only that the third concert by the Cecilia Society would take place next week and would contain [unspecified] works by Gade, Hiller, Mendelssohn, Weber and Zvonař. More detailed advance information of this third annual Cecilia Society concert of the 1859-1860 season was published by Prager Morgenpost 15/2/1860. The text noted the date, venue and time of the event, as well as the programme and the two solo singers, Miss Prause [Prausová] and Mr Strakatý [Karel Strakatý]. An identical report appeared in Der Tagesbote 15/2/1860, and a similar text, but not mentioning the two vocalists, was published by Bohemia 15/2/1860.

On 17/2/1860 Prager Morgenpost published a review of the concert, signed ‘**’, which of the ‘interesting programme’ focussed primarily on the new composition by J.L. Zvonař and on the fragment of Mendelssohn’s unfinished opera Loreley. The critic noted that the latter had been heard only once before in Prague in 1853, and in a ‘not very effective’ performance. On this second occasion the solo part was reported to have been effectively sung by Miss Prause and the performance of the work by the Society was praised. Of Mendelssohn’s unfinished opera itself, the critic wrote with notable enthusiasm, reporting that it revealed, particularly in the ‘magnificent Chor der Wassergeister’, Mendelssohn’s latent ability as an opera composer. The work was also noted to stem from the same period as Wagner began his own reform of the genre. An association with progressive developments in musical style was identified specifically in the Romanza  Umírající pěvec. The ‘esteemed composer’ Zvonař was perceived to have striven to introduce ‘the newest principles of reform’ of musical style into both vocal and instrumental parts of this work. This was thought to be evident at once in the instrumental prelude through the particular use of transient modulation and tone colour. Attention was also drawn to the subsequent use of the opening instrumental motive in expressive passages in the later sections for voice, and to the handling of the form and of tonality (the contrast of the A minor opening with a conclusion in G major). The review related that the solo part had had to be taken by Mr Appé ‘at the last moment’, due to Strakatý being ill.

A brief review of the concert, signed ‘V.’ appeared in Bohemia 17/2/1860. This began with a colourful observation about the staging of an artistically inspired concert in the middle of the carnival dance season, noting that ‘Amidst the canticles offered now in homage and opulence by the orchestras of the Princes Carnival there suddenly appeared yesterday a concert by the Cecilia Society, with a programme at once contrary to the gay sounds of the dances.’ The works performed were then listed, followed by a report of Appé taking over the part of Strakatý due to the latter’s illness. On his appearance Appé was apparently received with applause by the numerous audience; his guest performances during the previous summer in the Novoměstské divadlo [New Town Theatre] were still in the memories of those present. Following Zvonař’s work he gained the utmost applause. ‘Equal honour befell Miss Prause, who in the final item, the performance of the opera fragment of Mendelssohn, sang the part of Loreley.’ Prause was praised by the critic for the sonority of her voice and her accuracy.

A review of the concert was published by Dalibor 20/2/1860. The greater part of this text was taken up with a description and critique of the ballad by J.L. Zvonař. The text also noted that Karel Strakatý was to have sung the solo baritone part, but owing to illness his place was taken by August Appé.