• Piano Institute of Bedřich Šimák: participating institution, pupils of institute, pf

This was the first of three musical soirées given by Bedřich Šimák’s piano institute during the 1859-60 concert season, the second and third of which took place on 24/3/1860 and 31/3/1860. Each was announced on the day of the performance in the Tageskalender of the newspaper Bohemia. On 15/3/1860 Der Tagesbote and Prager Zeitung both published identical texts relating news of these ‘Soirées musicales’, specifying their dates, time and venue, and that they would include performances of pieces by Chopin, Dussek, Schulhoff, Tomaschek [Tomášek] and others. A similar text appeared in Bohemia 15/3/1860. Prager Morgenpost 15/3/1860 published more detailed information, noting the address of the institute and including some information about the programmes. Attention was drawn to the specifically Czech content of the occasions, with the report commenting that ‘compositions of Bohemian masters will be performed. In addition to the March for 4 pianos by J.L. Zvonař and the Overture to the Polish opera “Halka” of Moniuszko will be given pieces by Czerný, Dussek, Kuhe, Pivoda, F. Schimak [B. Šimák], Schulhoff and Tomášek.’

Except for a brief, unsigned review of the first event in this series that was published by Prager Morgenpost 24/3/1860, no other coverage of these soirées appeared in the Prague daily German-language newspapers. The Morgenpost critic commented that ‘Sunday’s Soirée musicale in the Institute of Mr Lud. Schimak [Bedřich Šimák] brought us a few novelties, of which particularly the rousing Sonata in G minor of Lad. Dussek, the excellent and full of national spirit Overture to the Polish opera “Halka” by Moniuszko, and the pretty March by J.L. Zvonař, enjoyed great success. The pupils played with pure, immaculate precision and provided proof [of the excellent teaching method].’ They included Nejedlý, Riedl and Hlawáč [Hlaváč].

The review, signed ‘-el.’, published by Dalibor 10/4/1860 following the final soirée in this series noted that works by Czech or Slavonic composers appeared throughout the programme of the first event. This detail drew the approval of the Dalibor critic, who launched into a vigorous statement on the potential for more widespread cultivation of native music in such events. ‘Mr Šimák is the first who appreciated that our native music literature will not prosper if works by patriotic composers are not performed publicly in good measure; for this presents the public with an opportunity to hear good compositions by our compatriots, [works] that are indisputably superior in merit to the unsuccessful fabrications of [composers such as] Voss, Goria etc. If only other worthy directors were to follow this example, then music publishers here would certainly commence greater activity in publishing works, and the music-loving public would not have to resort to sending much money abroad for compositions.’

Details of the programme of the first soirée, specifying the performance of Zvonař’s march and the Overture to Halka and noting the names of the composers of solo pieces for piano that were to be performed, were published by Dalibor 10/3/1860. These composers were listed as ‘Černý’ [Karl Czerny], J.F. ‘Dobrzinský’ [Dobrzyski], ‘Dusek’ [J.L. Dussek], V. Kuhe, ‘J.’ [František?] Pivoda, Bedřich Šimák, Julius Schulhoff and V.J. Tomášek. The subsequent Dalibor 10/4/1860 review included a longer list of works which did not wholly correspond with the details contained in the earlier report, but which the review did imply made up the programme of that first soirée. This article also noted that participating performers included Riedl, [J.] Nejedlý, Hlaváč, Lokota, and Misses Marie Richterova, M. Demartiniova, Brixiova, M. Miltnerova, M. Ständlerova, and Bartova. The review concluded with the observation ‘The audience was very numerous and rewarded the pupils with loud applause.’

The order of the programme given in the database record corresponds with the order in which the works were listed by the Dalibor 10/4/1860 text. The concertante and orchestral works were likely to have been given in piano arrangement; none of the specified source texts reported that an orchestra participated in this series of productions, given that the Overture to Halka was reported as having been performed in an arrangement for 4 pianos.