• Žofín Academy: participating institution, vv

Der Tagesbote 28/6/1854 reported that that the Žofín Academy would give the third of its annual concerts in the Žofín Hall on 1st July. From an ‘interesting’ programme the correspondent chose three works thought to be of particular interest. These were Gade’s chorus Die Studenten, Reinecke’s chorus Frühling ohne Ende that had won a prize from the Swabian Singing Society, and Vogl’s chorus Die drei Worte des Glaubens. A similar report appeared in Mercy’s Anzeiger 28/6/1854.

An unsigned review of this concert was published by Der Tagesbote 2/7/1854. The correspondent reported that ‘The opening work was Schumann’s Zigeunerleben, a quite sober composition too monotonous in rhythm. It was a diligent performance, and we must say that especially in its female chorus the Žofín Academy demonstrates very fine performance technique. The following male-voice chorus... Die Studenten had little impact. The Czech duet „U hrobu matky“ by the Director F.A. Vogl, sung by Misses Blažek [Blažková] and Hnilička [Hniličková] is a commendable composition. Both singers are developing fine, attractive voices and gratifying execution. Reinecke’s male-voice chorus „Frühling ohne Ende“, although awarded a prize by the Swabian Singing Society, attracted little interest. The first tenors at the end [of the work] were noticeably screechy. Hummel’s Trio, performed by Miss Summerecker [Summereckerová] and Messrs Benewitz [Bennewitz] and Goltermann, gained applause. Rossini’s Marinari [Gli marinari] was not unmeritoriously performed by Messrs Walter and Lenk. Both the voices and the abilities of the two singers showed good promise. In places the performance could have had more energy and would have benefited from clearer articulation. Mr Vogl’s male-voice chorus „Die drei Worte des Glaubens“ (Schiller) did not alter our opinion that the text is more suited to expression as poetry than as music. The end of the concert was made by the 100th Psalm, by F. Schicht. The public sufficiently - and several times generously - applauded.’

The supplement 35 to the Czech-language arts periodical Lumír 1854, published on 4/7/1854, included an unsigned review of this event. The correspondent recorded that on the ‘First of July was again a big concert of the Žofín Academy on Žofín Island. It commenced with Schumann’s „Cikány“ [Zigeunerleben]“, self-evidently a new classical work, [ovšem novoklassický], although it cannot be counted among the most successful of that modern master, having many vain platitudes. Neither was the other new classic worthy of much recognition, that of Nils Gade [Niels Gade], whose student chorus inspired little sympathy... It is not even ten years since Nils Gade flashed across the musical firmament as a magnificent northern shooting star, but now it seems to us that his star has faded. The folk composition „U hrobu matky“ by Director [of the Žofín Academy] Vogl, performed in Czech by Miss Blažková and Hniličková evidently enlivened the audience; the singing of both Misses was praiseworthy. Also a greatly successful number was Hummel’s Trio, in the virtuoso performance of which participated Miss Summereckerová and Messrs Benevic and Goltermann. The other numbers were: Chorus „Die drei Worte des Glaubens“ by Vogl, an assiduous composition, „Marinari“ by Rossini, a new chorus by Reinecke, championed in Germany, but slight, then Psalm 100 by Schichta. The performances testified throughout to the diligent, good direction of the examinations; the audience was large.’