• DREYSCHOCK, Alexander: soloist, pf
• GÜNTHEROVÁ, Adelina: soloist, v

Mercy’s Anzeiger 11/3/1857 reported that ‘The concert of Mr Alex. Dreyschock for the benefit of the Nursery Institute [Krippenanstalt], which was originally scheduled for 14th March, is now rescheduled for 15th March (Sunday). It begins at 12 noon, and has been assigned the following programme...’ The programme to the concert was then listed in projected performance order, and the various soloists named. An advertisement for this concert was then published by Mercy’s Anzeiger 14/3/1857. This specified the date and time of the concert, the venue, and listed the programme in detail. At the foot of the advertisment was noted that the piano was by Streicher, and was available to purchase from [the instrument seller] Mr Anton Schwardling. On 21/3/1857 Mercy’s Anzeiger published news that the ‘Concert arranged by Mr Alex. Dreyschock for the benefit of the Prague Nursery Institute [Krippenanstalt] on 15th of March had gained remarkable receipts of 1513 fl. The net profit of 1241 fl 12 kr. Mr Dreyschock has already given over to the directors of that institute.’ The source then related that this sum would be put to the founding of a second nursery in Prague.

News of this concert was also published in advance by the Czech periodical Lumír 12/2/1857. The source announced that the ‘Public of Prague once again is getting the great and rare joy to hear a public concert of our well-known Alexander Dreyšok [Dreyschock]. The day of the concert is 15th March. The programme is very interesting; however it is enough for the public to know that Dreyšok will play. The profit from the concert is assigned to benefit a Prague institute for a good cause...’

The German-language Prague newspaper Tagesbote aus Böhmen 10/3/1857 reported: ‘Alexander Dreyschock is preparing his home-city of Prague next Sunday 15th [March] to enjoy a great concert, the profit from which is dedicated to the Prague Creche [der Prager Crêche]. The programme of the celebrated virtuoso comprises besides several of his elegant salon pieces a seldom heard Rondo (with orchestra) of his own composition, and Weber’s beautiful Concertstück.’ A more detailed account of the programme appeared in the following day’s issue, 11/3/1857, of this newspaper. The source related: ‘The concert that Mr Alexander Dreyschock arranges on 15th March at 12 noon in the Hall of the Žofín Island for the benefit of the Nursery Institute [Krippenanstalt] contains the following numbers: 1. Overture „Meerestille und glückliche Fahrt“ by Felix Mendelssohn.Bartholdy. 2 Concertstück by C.M. von Weber, performed by the concert-giver. 3. Sehnsucht, Lied by Mendelssohn-Bartholdy, sung by Miss Günther [Güntherová]. 4. Rondo with accompaniment of the orchestra, composed and performed by the concert-giver. 5. Juchheißa, Lied by H. Marschner, sung by Miss Günther. 6.a) Nocturne (F-sharp major) Op.15. Nr.2 by Fr. Chopin, b) Rastlose Liebe by A. Dreyschock, performed by the concert-giver.’ An advertisement for this concert was published by Tagesbote aus Böhmen 14/3/1857 with programme details given exactly as specified in the report published by that newspaper on 11/3/1857. Appended to the listing of the programme was the note that the piano to be used in the concert was by Streicher and was sourced from the repository of Mr Anton Schwardling.  

Tagesbote aus Böhmen 16/3/1857 published a substantial review of this concert, signed ‘-h.’. The correspondent remarked: ‘A concert by Alexander Dreyschock is a significant occasion anywhere in the musical world, and all the more so for his home town. This was evident yesterday in the crush leading to the hall of the Sophieninsel, one that exceeded anything we had ever previously seen in terms of a large-scale turnout. When the hall could no longer accommodate the press of people, what room on the podium had been reserved for the orchestra was squeezed into a narrower space, and the improvised places that resulted were snapped up by the name-bearers of the glittering nobility. This was the splendid result of the association of Dreyschock’s name with a charitable fundraising event for a humanitarian institution that is supported by the highest circles – the first Prague Nursery [for infants]. That the artistic success [of this concert] would be equal to the immense pecuniary success hardly needed an assurance. With the orchestra Dreyschock played the beautiful Concertstück in F by C.M. Weber and a Rondo in C of his own composition. The first piece, especially in the majestic march... in which the soloist dominates the entire orchestra with an immense force that moreover had to overcome the resistance of a piano that was barely up to the task, had an electrifying power, and the passages that follow, breathed with a gentle tenderness, provided a happy contrast allowing the delicacy of the performance, [an attribute] that the master had already accomplished to the most consummate level in recent years of his artistic development, to shine forth. Dreyschock’s Rondo is much more difficult than Weber’s; the pithy treatment of the theme of the introduction, the grand climaxes of the [technically] difficult sections, of which the many rapid octave passages are the greatest [i.e. most challenging], and by contrast the [leichtweg] playful lightness in the Rondo theme, which calls for complete technical ease and elasticity of touch, make a virtuoso rendition of this piece impossible for anyone but the master himself. The concert ended with two smaller solo pieces: Chopin’s dreamily poetic Nocturne in F-sharp, intimately performed here by a Dreyschock who shunned all outward [display of] bravura, and the lively, characteristic picture Rastlose Liebe of his own composition. Each piece was received by the audience in proportion to the level of accomplishment it called for; even his first entry onto the stage was greeted by a magnificent garland of camellias on the piano and many bouquets.The complementary numbers were made up of Lieder performed by Miss Günther (Mendelssohn and Marchner), accompanied by Dreyschock himself, and the Overture Meerstille und glückliche Fahrt performed with precision by the theatre orchestra under Mr Fr. Skraup [Škroup]. It is to be hoped that the concerts yet to come this season may adopt the high quality and noble concision of Dreyschock’s programme and of the recent concert by Laub [and] Graf as a model.’

On the same day as the above Tagesbote aus Böhmen review, Mercy’s Anzeiger published the following report, signed ‘Z.’: ‘A concert of our celebrated pianist, Alexander Dreyschock, is always one of the most glamorous presentations of every musical season. So too was the concert that took place in the Hall of the Žofín Island yesterday; whose benefit the master dedicated to the good cause of the day-nursery establishment [Krippenanstalt]. Long before the beginning of the concert a distinguished audience densely filled the spacious concert venue and as a sign of contemplative attention a wreath was laid upon the Streicher grand piano. After the orchestra of the [Estates] Theatre very precisely played Mendelssohn’s Overture to „Meerestille“ under the direction of Kapellmeister Skraup [Škroup], Mr Dreyschock appeared and was received with exultant acclaim and a rain of flowers [literal translation, meaning that flowers were thrown onto the stage]. Without doubt this reception, as well as the exuberant appreciation he obtained, showed how welcome is the pleasure to hear this artist, who, although living at home amongst us, rarely unfolds his masterful playing before his fellow countrymen, before the people of Prague. His unique technique and his dignified performance manner has so often been discussed and admired, that, from our point of view, it should again for this very reason be reported upon in detail. The concert-giver first performed the Concertstück by C. M. v. Weber with orchestral accompaniment. As usual in this piece, he brilliantly demonstrated his remarkable strength and stamina, as well as his tender and delicate execution. He was so kind as to repeat the delightful march motif, which was rapturously received. In the self-composed Rondo that was also performed with orchestral accompaniment his extraordinary skill in playing octaves inspired universal admiration. When to conclude Mr Dreyschock played with especial feeling and tender expression Chopin’s Notturno op.15 No. 2 and then his own piano composition Rastlose Liebe, the enthusiastic listeners did not make any effort to leave the hall, until the celebrated virtuoso moved over to the piano again and executed Mendelssohn’s Spinnerlied in a delightful fashion. It would be in the common interest if Mr Dreyschock would soon perform again in public and present one of Mendelssohn’s concerti or another more substantial piece of classical content. Brilliantly accompanied by the concert-giver Miss Günther sang a song by Mendelssohn, and one from op. 170 by Marschner with her usual artistic skill and to honourable appreciation.’

A review of this concert was published by the Czech-language periodical Lumír 19/3/1857. The correspondent, possibly signed ‘-š.’ given that this signature appeared directly at the end of three successive substantial review texts, reported: ‘Not even at the Law Students’ Ball were so many carriages and hansoms on Žofín Island as there were on Sunday at noon when it came to begin Dreyšok’s [Dreyschock] grand concert to benefit Prague nurseries [for infants – ‘v prospěch Pražských jeslí’]. The Hall was full and since the circle was insufficient, many noble ladies were placed by themselves on the podium amidst the orchestra. The master Dreyšok entered, welcomed by thunderous applause, and found the piano decorated with fabulous garlands, the artist having been thrown many flowers and wreaths of laurel and camelia.’ The critic considered that it was superfluous to comment much about the success of the concert given that the mastery of the pianist was acknowledged throughout Europe. Of the works performed, the ‘inspired Overture „Mořské ticho a šťastná plavba [Meerestille und glückliche Fahrt]“ was excellently performed by the whole orchestra, opened the concert. Dreyšok performed Karl Marie Weber’s [Carl Maria von Weber] magnificent Concerto in F [the Koncertstück in F minor], a Rondo of his own composition, brilliant and immensely difficult, then a Nocturne by Chopin and his own work „Neunavená láska [Untiring love]“, all performed with a mastery that is intrinsically Dreyšok’s. As an unexpected addition to end he surprised the public with Mendelssohn’s Spinning Song. Miss Güntherová artistically performed two German songs but with an evidently ailing voice.’

The programme is reproduced in the order published by the Mercy’s Anzeiger 11/3/1857 and Tagesbote aus Böhmen 11/3/1857 reports.