• Prague Conservatory: participating institution, orch

Bohemia 27/3/1851 published details of this event, specifying the date, time and venue and listing the programme and participants. The date, time and venue were also given in the Tagesanzeiger texts of Bohemia 28/3/1851 and 30/3/1851.

A post-event article, signed ‘V.’, was published by Bohemia 3/4/1851. This text in the main comprised a critique of Schumann’s opera Genoveva, only the overture from which was performed on this occasion. The correspondent noted that the work had already received many commentaries from the press varying in critical opinion. To the Bohemia writer, a detailed perusal of the piano score of the opera revealed a work more interesting as an object of scientific study than as an inspiring and expressive work of art. ‘Although difficult to comprehend, the piece is more convincing [of the art] of its composer when examined at the piano than when performed in the theatre.’ Most of the numbers were thought to contain ‘ingenious, deeply thought-out elements’ and moments of inspiration. Yet ‘an audience, even a musically educated one, is attracted by the stage, and [Schumann’s] music, especially his dramatic music, fails in its purpose when it is seemingly intended to be better understood by the eye of disciples of the art than be enjoyed and understood by the ear.’ This was suggested to be contributory to the modest success of the first performance of the opera in Leipzig.

Of the Overture to the opera, the Bohemia reviewer considered that in terms of its formal construction and its choice of themes this piece was more comprehensible to listeners than other instrumental works written by the composer. In any case, it would always achieve greater success in the concert hall than when given in the theatre. The performance on this occasion was thought to have been successful, due not only on account of the work’s ‘numerous beauties in themselves, but also to the brilliant achievement of the young orchestra.’ However, criticism was still made of the work, specifically of the harmonic progression (described in detail) in a passage of horn writing associated with the character of Hebbel, and the extended dominant pedal point under which the main melodic ideas of the work were stated. The suitability of the latter ‘for an overture introducing an opera is very questionable’.

The remainder of the Bohemia review briefly covered the other works being given in the concert. Of Gade’s Symphony the correspondent noted that the composer was following new stylistic directions, praising the work’s lyricism and effective orchestration but noting too that the Symphony was not as fresh and original as his first. The performance was described as excellent and energetic. The various soloists appearing in the concert were commended, and the event was noted to have been well attended.