• Music Institute of Petr Maydl: pupil(s) of institute, pf

Der Tagesbote 29/7/1854 reported that ‘Today and tomorrow takes place the first Examination-production [Prüfungsproduktion] on Žofín Island for the pupils of the Music Institute of Mr Maydl. This falls into three parts and offers such interesting numbers as the Wedding March from Mendelssohn-Bartholdy’s Sommernachtstraum, the Overture to „Hans Heiling“ by Marschner, the Overture to „Tannhäuser“, here received with such great acclaim, [and] the „Allegretto“ by Weber. Which of these works was performed on which of the days of examinations was not specified by this source. The orchestral compositions were almost certainly performed in arrangements for multiple pianos, as was then commonplace in these examination presentations by local music-teaching institutes. Maydl’s Institute itself concentrated on teaching pianoforte. Although the source reported that the event was to take place ‘on Žofín Island’, the venue would have been in the Žofín Hall and not in the garden which was used for dance and light music entertainments during the summer months.

The Czech-language arts periodical Lumír 27/7/1854 related that: ‘On Žofín will be on 29th July in the morning and in the afternoon, then on 30th July around lunchtime examinations of pupils of the new musical institute of Mr Maydl founded a year ago and now numbering 92 pupils. On these days there will be performed Overtures of Marschner, of Meyerbeer, of Mendelssohn-Bartholdy, of Weber, of Richard Wagner and of Rossini. The first day at 10am will be the following soli: „Le Gondolier“ [Impromptu sur un air napolitain] of Veit, performed Jaroslav Hofrichter, „Fantasie“ of Cramer, performed Gustav Hahn, „Le Zefir“ of Kittl, performed Eduard Nápravník, „Marche cosaque“ of Wehle, performed Hugo Schönberger, „Air italien varié“ of K. Meyer [Charles Mayer], performed Vilém Steinmann - Afternoon about 4 o’clock: „Reverie“ of Roselln, performed by Miss Hynková, „Grand-Polka“ of Kuhe, performed by Miss M. Bláhová, „Le Papillon“ of Münnich, performed by Miss L. Rosenfeldová.’ The report continued with a list of works to be performed on the second day of these examinations.

Lumír 1/8/1854 published a review signed ‘-š.’ of these examinations. The correspondent expressed the opinion that the examinations were testimony to the great success of the institute in the brief period of only its first year, to the circumspect and assiduous management of its director as well as to his good tuition method. ‘Of the overtures „Tannhäuser“, „Oberon“, „Struensee“ then the Concerto by S. Bach were appreciated. Among the students, who all acquitted themselves well, particularly excelled Eduard Nápravník, who performed Kittl’s Zefir and inspired vociferous applause, [and] encored the piece. Worthy of mention are also M. Mareš, J. Bláha and Vilém Steinmann; then Miss Anna Horová, M. Kostečka, M. Bláhová and L. Rosenfeldová.’ The future success of the institute was considered to be assured. The correspondent noted that the hall was full.

An unsigned review of these examinations was published by Der Tagesbote 2/8/1854. The correspondent reported that the events were very numerously attended by a refined public who received the select compositions with great approbation. The mostly young male and female pupils gave very accurate performances considering their ages, reflecting the teaching method and great conscientiousness [of the institute]. Particularly pleasing was the Overture from „Tannhäuser“, that to „Hans Heiling“ and the „Allegretto“ by Weber. Many numbers had to be encored.

Mercy’s Anzeiger 1/8/1854 published a substantive review, signed ‘R’ of this event, titled as the ‘First public examination-production of pupils in the Music Institute of Mr Peter Maydl.’ The critic then went on to report that ‘This production took place yesterday in the Žofín Island Hall and demonstrated the gratifying result that this Institute, established for only a year, is built upon the most solid foundations. Those pupils that during this time have enjoyed music lessons, in the performance of their taught pieces clearly showed a general elementary knowledge, grounded in an extensive musical education. The [pianistic] touch of these pupils was relatively forceful, the fingerwork even, the playing rhythmically sound and well-nuanced; in all cases, in the circumstance of their apprenticeship, very surprising. The musical-educational level of the advanced pupils of Mr Maydl from his previous teaching [i.e. prior to his esablishiment of this Institute] demonstrated from the use of a rational teaching method, together with his care in then mechanical and intellectual education in music. These pupils possesed a fair grade of technical fluency, pertinent understanding with particular discrimination of the form and the style of the compositions, a distinct, even elegant playing. On these fundamental prerequisites is founded the firm edifice of entire musical education, whose system rests on the best-proven practical principles, and the carries the prospects of most beautiful success. Several pupils distinguished themselves in performing brilliant compositions, as we will now outline. Miss Hora played a concert study by Kullak with great delicacy, the Misses Blaha and Rosenfeld vied with particular bravura in the Duo by Pixis. A composition [entitled] concertante variations was played by Miss W. Kostečka very elegantly and was received with considerable applause. Also the gentlemen: Fibinger, Blaha, Maresch and Naprawník [Napravník] gained merited applause through the performance of a Notturno by Döhler and of the Concert for 3 Claviere [Concerto for 3 Harpsichords, undoubtedly performed in these examinations on pianos] by S. Bach. Very praiseworthy and of beautiful effect was the particular accuracy in the ensemble playing of the arrangements for 8 pianos of the Overtures to Oberon, Tannhäuser and Semiramis [Semiramide]. An exceedingly numerous audience was present and followed the production with rapt interest. Also on the preceding day a special rehearsal performance took place in which a great number of tasteful compositions were well-performed. And so the splendid success of this first performance event speaks well of the proficiency and for the sure future of this new musical institute.’

Details of these examinations are presented in two records by the database, for 29th July and for 30th July. The compositions specified by the Der Tagesbote and Mercy’s Anzeiger sources cannot be attributed to which of these two days, so are included in both records. The solo performances listed by Lumír are listed on the specific days described in the Czech periodical’s report.

The Concerto by Bach was most likely performed by three pianofortes and not on harpsichords.