• Society of Musical Artists: organizing institution
• Cecilia Society: participating institution, chorus, orch
• Estates Theatre chorus: participating ensemble, chorus
• Estates Theatre orchestra: participating orchestra, chorus
• 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

Earliest detailed news of this event was published by Prager Zeitung 7/3/1860. This reported that ‘The local Society of Musical Artists will on 2nd of next month in the Žofín Hall [Sophieninselsaale] for the benefit of their Widows and Orphans Institute give a performance of Haydn’s “vier Jahreszeiten”. As well as members of our music societies and of the Theatre orchestra there will participate also pupils of the Conservatory, many dilettantes and for soloists Miss Prause [Prausová] and Messrs Eilers and Reichel.’ Similar news, additionally noting the time of the event, was published by the newspaper on 1/4/1860.

Advance news of this concert appeared in Bohemia 24/3/1860, which simply noted that ‘On Monday in Easter week (2nd April) the Society of Musical Artists [Tonkünstlergesellschaft] will for the benefit of their Widows and Orphans Institute perform Haydn’s Oratorio “Die vier Jahreszeiten”.’ Four days before this issue, more detailed news was published by Prager Morgenpost 20/3/1860. This text reported that ‘The local Society of Musical Artists on the 2nd of next month in the Žofín Hall will for the benefit of their Widows and Orphans Institute give a performance of “Haydn’s 4 Jahreszeiten”.’ Noted to be participating were members of local music societies, the orchestra of the [Estates] Theatre, pupils of the Conservatory and many dilettantes. The soloists were listed as Miss Prause [Prausová] and Messrs Eilers and Reichel. The Tageskalender of Bohemia 2/4/1860 listed the time, venue and title of the event.

Der Tagesbote did not issue news of this forthcoming concert until 31/3/1860, when the newspaper reported the date, time and venue of the event, and the institutions and individuals who were to participate. The participating societies were listed as the Žofín Academy, the Cecilia Society and the Mens’ Singing society [Männergesangverein]. Also taking part was noted to be the orchestra of the [Estates] Theatre and ‘many dilettantes.’ The report identified Count Ernst von Waldstein as being the patron of the Society of Musical Artists.

The most detailed and practical pre-event news was published on 31/3/1860 by Prager Morgenpost. In addition to noting the date and venue of the concert and the participants, the text recorded the particular rôles to be sung by the soloists. The admission prices to the concert were also specified. ‘Billets’ [tickets] to the circle cost 2 fl, to the ‘Saal’ [stalls] 1 fl, and to the gallery 50 kr. Texts were available for the oratorio at 15kr. These could all be bought at the music shops of Joh. Hoffmann and of Christoph and Kuhé, and on the day from the ticket office at the venue.

References to this event by the two specified Dalibor 1860 sources were notable as naming the work and even the solo rôles in the Czech language, although there is no evidence that the performance was given in Czech. From their inception earlier in the century until later in the 1860s all of the annual Society of Musical Artists’ annual concerts were performed in German. The pre-concert report published on 20/3/1860 contained similar information to the Tagesbote text, reporting that the ‘Society of Musical Artists [Jednota hudebních umělců] under the protection of Arn. Fr. de Paul Count Waldstein, arranges in combination with local singing and instrumental institutions on Monday 2nd April in the Hall on Žofín a concert to benefit its Institute for Widows and Orphans, in which the oratorio “Čtyři roční počasí [The Four Seasons]” of Jos. Haydn will be performed. The part of the tenant Šimon [Simon] performs Mr Eilers, Hana [Hanne] Miss Prauseová [Prausová], and the young peasant Lukáš [Lucas] Mr Reichel. It begins at about 6pm.’

The Dalibor review published on 10/4/1860 and signed ‘(?)’, was substantial. The performance was thought to be ‘dignified, and the choral and orchestral forces participating in the oratorio were really imposing.’ This was followed by an eulogy of the work and a typical contemporary perspective of Haydn as a composer. ‘I believe it would be superfluous to speak in more detail about this work, for who is not familiar with this classic composition by Haydn? ... How significantly speaks the excellent theoretician B. Marx about Haydn’s “Stvoření [Creation]” and his Seasons: “Haydn illustrates in them such rustic subjects of nature.” And really, everyone has to love the pious master, who so child-like, so genially, so sincerely delights in all creatures. From the most sublime hymn to the humorous song and merry peasant dance, from the magnificent sunrise and awe-inspiring storm to the crowing of the cockerel, the chirruping of the cricket, croaking of the frog - how beautifully he depicts these scenes! Such charm, clarity and immortal freshness prevail in all of this work and how devout, how sincerely devout, even reverential are all the parts which offer thanks and praise! The god to which Haydn in his oratorio pays deep tribute is no other than that whom we call “Loving Father!” Best-liked were the great choruses: to end Spring, then the hunting chorus with difficult horn parts, the dance in the inn, the spinning room with the characteristc laughing choruses, then Šimon’s hunting aria, reminiscent of Handel and a charming tale, which had to be repeated. The circumspect and successful performance of this magnificent work offered a delicacy to all music lovers, for which we have to thank the excellent director Mr Fr.J. Škroup and all of the participants. The solo parts were in the hands of Miss Prauseova [Prausová] (Hanna), Reichel (Lukáš) and Eilers (Šimon). Miss Prauseova executed her difficult rôle very capably, it benefitted from her beautiful and fresh voice, clean intonation and excellent coloratura. No less happily Mr Eilers performed his own part, and excellently entered into the spirit of the rôle. Mr Reichel acted very commendably [velmi chvalně si počínal]. The audience was immensely numerous and grateful.’

Reviews of the event were also published by the Prague German-language newspapers. The critic, signed ‘-h.’, who wrote for Der Tagesbote 3/4/1860 began by remarking upon Haydn’s oratorio maintaining its effect and impact each time that it was performed. The work was regarded alongside the Pastoral Symphony as a ‘great musical nature-picture’ [größten musikalischen Naturbilder], and both compositions were noted as having been recently performed within a short space of time. This performance, the critic considered, was in general ‘imposing’, owing to the participation of the massed resources of all predisposed Prague societies and individuals. The solo rôles were ‘in good hands’. Eilers was deemed to be a first rank singer of ‘oratorio style’, Reichel’s singing of Lucas was ‘absolutely meritorious’, and Miss Prause [Prausová] ‘completely charming.’ The great mass of performers was directed firmly and resolutely by ‘Skraup’ [Škroup], although in places his ‘unyielding’ approach resulted in some more tender parts of the work to suffer from a ‘certain rigidness’. The orchestra and chorus were not completely together, and the reviewer also noted how certain numbers, specifically “Sei uns gnädig”, the movement following the storm, and ‘Simon’s “Jagdarie” in the style of Handel were taken strikingly swiftly.’ The ‘most rousing moments’ of the performance were thought to be ‘the great choruses, the close of Spring, the Hunting chorus with the demanding horn parts, the dance in the Inn, and ... the savage laughing-chorus [in the spinning room].’ The last-mentioned, Hanna’s ballad with chorus, was by request repeated. The critic also noted that the chorus of choirboys was deserving of particular praise. The audience was generally vociferous in their approval.

Prager Morgenpost 3/4/1860 published a review, signed ‘**’, as an independent section appearing in the newspaper and titled ‘Die Concert der Tönkunstler-Gesellschaft’. This listed the participating societies as noted in previous source reports, but also recorded that the choir and orchestra of the [Estates] Theatre took part, as well as ‘numerous choirboys and dilettantes’. Under ‘the proven leadership of Franz Skraup [Škroup], director of the Sophien-Akademie [Žofín Academy]’ were said to have been three hundred performers. Before commenting upon the performance itself the critic enthused about Haydn’s oratorio, remarking that it was written when Haydn was 69 years old and first performed in 1801. It was thought to be characterized by an ‘immortal freshness’ in melody and ideas; the ‘purest feelings’ were expressed in music that was ‘unforced’. Specifically identified as pleasing were the humorous episodes, as in the sections Spring, Autumn with the Hunting and Drinking choruses, and the ‘Märchen’ section in Winter, which had to be repeated. In common with the Tagesbote reviewer, the Prager Morgenpost critic asserted that the oratorio’s effect was not dimished even though a performance had been given relatively recently. The audience was plentiful and welcomed the work. Perhaps reminiscent of the slight criticism of the Tagesbote review about Škroup’s somewhat brisk and inflexible direction was the Prager Morgenpost critic’s comment that ‘All the participants very satisfactorily executed their parts under a very exact director.’ The soloists were deemed to merit special praise for their ‘worthy stamina’ in performing their ‘demanding’ parts. Reichel in particular was ‘excellent’ and considered to be reminiscent of his many appearances on the opera stage. The performace lasted three hours. This Prager Morgenpost text was the only source to relate specifically that the participants included the choir of the Estates Theatre.

Bohemia 3/4/1860 published the most substantial text in the wake of this production. The newspaper’s critic, signed ‘V.’, commented upon the difficulties of mounting such an oratorio performance, specifically upon the particular demands of the vocal parts. The participation of opera singers was not necessarily considered a solution because their ‘method, routine and artisty’ was of a different type. Nor could ‘good intentions and careful endeavour’ and a large number of participants necessarily meet the requirements of a performance. The reviewer remarked that if standards could not be achieved then the Society of Artists and their leader Mr Škraup [Škroup] ought to desist from such programmes. However, in this case the event benefitted from the work having been given relatively recently, and the performance ‘in general terms’ was deemed to be successful. Each of the solo vocalists were commended for their performances. Miss Prause [Prausová] was to suited her rôle very well due to her ‘beautiful voice and good technique’, and because the part demanded no pathos or passion. Mr Reichel, who the critic noted was wholly reclusive in his private life, had made possible the performance of the oratorio through his obligingly agreeing to participate. Mr Eilers, sang the bass part with ‘flawless’ nuance and judgement. The conductor, Škroup, was reported to have been [curtain-]called after the third and fourth parts, and the hall was described as being ‘overcrowded [überfüllt].’ Two further comments in relation to this event are of interest. At the beginning of the text the Bohemia critic referred to the ‘stagnation [of the music culture] of conservative Vienna.’ Of the oratorio itself the correspondent rejected criticism that the work was not really suited to an Easter production.

The latest German-language review, signed ‘!!’ was published in Prager Zeitung 4/4/1860. This concise text in the main focussed on relating practical details of the event, eschewing any commentary about the oratorio aside from describing it as ‘ever fresh’. However, two details of the review did not appear in other contemporary reports. The critic remarked how the considerable popularity of these concerts was ‘joyful evidence that the appreciation of the Prague public for musica semisacra is not yet extinct.’ Also, the text concluded by relating how the concentration of the audience was so intent that almost everyone remained in their places until the very end of the performance. Other details of the review more or less corresponded with other source texts. The forces involved were described as ‘monstrous’, the ‘choir and orchestra comprising members of the Žofín Academy, Cecilia Society, the Mens’ Singing Society, pupils of the local Conservatory, the orchestral members of the royal Estates Theatre, as well as renowned dilettantes’. This was noted to amount to the entire strength of Prague musical society of the time. Of the soloists the critic remarked that their names alone were sufficient to confirm that a better choice of singers could not have been made. All of these diverse forces were directed with circumspection by Škraup [Škroup].

Dalibor 10/4/1860 published news that Miss Prausová, Eilers and Reichel and been made honorary members of the Society of Musical Artists.