• Estates Theatre orchestra: participating orchestra
• ŠKROUP, František Jan: director of ensemble

Tagesbote aus Böhmen 2/3/1854 published news of the date - noted to be 23rd March 1854 - and venue of this concert in aid of the [Prague Seminary] Institute for Adult Blind. By 11th March the date of the event had evidently changed; Mercy’s Anzeiger 11/3/1854 contained a notice announcing that ‘a great musical-declamatory Academy’ for the Institute for the Accommodation and Employment of the Adult Blind [Versorgungs- und Beschäftigungsanstalt für erwachsene Blinde] was to take place on 24th March in the Žofín Hall. Admission tickets, not inclusive of a donation to the Institute, cost 1fl and were related as being obtainable from both the office of the Institute and from the art and music shops of Jakob Fischer and J. Hoffmann. The same notice was repeated in the newspaper on 12/3/1854 and 13/3/1854.

The Czech-language arts periodical Lumír 9/3/1854 reported that ‘On 24th March is arranged an Akademie to benefit Klar’s Institute for the Accommodation of Adult blind, which usually boasts a tastefully compiled programme.’

Tagesbote aus Böhmen 22/3/1854, Mercy’s Anzeiger 22/3/1854 and 24/3/1854 then reported that owing to unforeseen circumstances the musical-declamatory Academy for the benefit of the Institute for the Blind that was due to have been given on 24/3/1854 had been postponed. Assuming that the earliest Der Tagesbote report was accurate, the event was thus probably cancelled on at least two occasions, initially from 23/3/1854 and then from 24/3/1854.

Tagesbote aus Böhmen 24/03/1854 again reported the cancellation of the musical-declamatory Academy on 24th March, but noted that it would take place on 27th March at 5pm in the Žofín Hall. The participants were to include the ‘Misses Meyer and Lechner [Lechnerová], Messrs Steinecke, Karl Fischer and Wiener, and the [Estates] Theatre Orchestra - conducted by Kapellmeister F. Skraup [Škroup] and orchestra-director Mildner. Admission tickets could be obtained from the art and music shops: Jakob Fischer and the Widow of J. Hoffmann, as well as from the directorate of the institute.’ More complete advance details then appeared in Tagesbote 26/3/1854 in a report that related the date, time, venue and beneficiary of the concert, gave the programme in performance order and the participants.

An unsigned review of this event was published by Tagesbote aus Böhmen 28/3/1854. The source reported that ‘Under F. Škraup’s leadership a brilliant concert was given for the benefit of the Institute for the Accommodation and Employment of Adult Blind [der Versorgungs- und Beschäftigungs-Anstalt für erwachsene Blinde]. Our brave Theatre Orchestra masterfully played both Overtures (nos.3 and 4) to the opera „Fidelio“ of L. v. Beethoven; with delightful enthusiasm Miss Louise Meyer sang Lieder... [by Mendelssohn and Schubert]. Taubert’s Wiegenlied, which Miss Meyer particularly patronizes, is quite insipid and so not worthy of attention. The lachrymose deep sighs that Miss Meyer often employs effectively, were here entirely unfounded and often in conflict with the text. The song „Verzage nicht“ is a worthy composition by Kapellmeister F. Skraup and has an accompaniment of charming complexion, that captures the imagination of the listener in silky enchantment. The violinist Mr W. Wiener played the first movement of Paganini’s Concerto in E-flat and gave therein a display of his virtuosity. Of piano works we heard the Chromatic Fantasie and Fugue in D minor by Sebast. Bach and the Polonaise brillante by C.M. von Weber.’ The success of the concert was considered evident in the brilliant attendance and ‘the presence of a garland of beautiful ladies [i.e. through the presence of a substantial number of women in the audience].’ The review made no mention of the participation of Miss Lechner [Lechnerová] or the violinist Mildner as noted in the previous Der Tagesbote report.

The two overtures by Beethoven were possibly the Leonore Overture no.3, composed for the second version of his opera Leonore, and which at this time was becoming increasingly well known both through performances outside of the opera house and also through its being introduced as an interpolation into the second act in stagings of the final version of the opera (which itself was retitled as Fidelio). The so-called fourth overture mentioned was most likely the new Overture Beethoven composed to the open final version of his opera.