• Prague Conservatory: participating institution, orch

Der Tagesbote 28/2/1854 reported that the Prague Conservatory would give three concerts during the Lent season, on 12th and 26th March in the Konvikt Hall and on 9th April in the Estates Theatre. On 21/3/1854 the newspaper published news that on 26th March at noon the second concert of the Conservatory would take place in the Konvikt Hall. The programme and participating soloists were listed by this source.

Bohemia 15/3/1854 reported that in the second concert of the Conservatory would be performed Beethoven’s Eroica Symphony. No other information was given by this source.

The Czech-lanuague arts periodical Lumír in its fifth supplement of 1854 on 21/3/1854 reported that ‘On Sunday about 12 noon will be the second concert of the Conservatory in the Konvikt [Hall]. The programme is: New Concert Overture [Koncertní ouvertura] of Mr Director J. Bedřich Kittl. - Fantasie from the opera „Němá z Portici [La Muette de Portici]“ composed by Fürstenau; performing on the flute will be pupil Antonín Groh, accepted [into the Conservatory] in 1849. - Aria from Don Juan [Don Giovanni]; singing will be Baroness Eleonora z Ehrenberga. - Aria and Rondo in D minor by Molique; performing on the violin will be pupil Antonín Šimáček, accepted 1849. - Symfonie heroická [Eroica] (number 3) by Beethoven.’ 

An unsigned review of this event was published by Der Tagesbote 27/3/1854. The correspondent remarked that in this concert the Institute’s Instrumental School was better represented than the Opera School. ‘The pupil Anton Groh gave a Fantasie by Fürstenau ... with a praiseworthy surety of technique and gained lively applause. The Adagio and Rondo from the D minor Concerto for violin by Molique was played by the pupil Alois Šimáček. He fought bravely with the great [technical] difficulties afforded by this concert piece and victoriously conquered them on his unfortunately dry and sharp-sounding instrument. The new Concert-Ouverture (nr.3 in C minor) of J.F. Kittl has ... an excessively expanded Andante [introduction]. The Allegro itself is fresh and effective; the lyrical [second subject] theme in E-flat not particularly effective and rather ordinary. Splendidly rehearsed was the Sinfonia eroica; notably the awkward horn parts in the Trio of the Scherzo were immaculately rendered. The numerously assembled public took a very great interest in this magnificent composition and at the conclusion [were] calling the meritorious Director [Kittl].’