• TERSCHACK, Adolf: soloist, fl
• ELLINGER-ENGST, Olga: soloist, v

Bohemia 15/12/1860 reported that ‘On Sunday the admirable [treffliche] flautist Mr Terschak [Teršák] is giving a concert in the Konvikt Hall at 12 noon, in which the young pianist Božena Swoboda and our interesting guest from Pest, Mrs Ellinger-Engst will be appearing. This matinée promises to be a great success given the extraordinary sensation which Mr Terschak has created here.’ The 16/12/1860 Tageskalender of this newspaper listed this event: ‘Sunday 16th Dec... 12 noon in the Konvikt Hall, Concert of Mr Terschak.’ On 18/12/1860 Bohemia published a detailed review, the correspondent reiterated the hugely positive impression gained of the flautist from his first concert and continued to enthuse about his virtuosity, melodious tone and expression. The source specified the works that he gave and noted that his ‘success, just brilliant, spoke for itself.’ The performance of the supporting artists were then listed. There were vociferous calls for Schumann’s Frühlingsnacht and Škraup’s [Škroup] Kde domov můj to be encored by Mrs Ellinger-Engst, who the correspondent considered to have shown herself to be as effective a lyrical singer as she was in opera. ‘The young pianist Miss Božena Swoboda played Thalberg’s Moses-Phantasie and a Phantasie on Slavic folksongs by an unknown author with such felicitous success, that following both numbers she was curtain-called.’ The folksong Fantasie was identified by Dalibor 20/12/1860 as being by Kuhe, and was most likely the Grande Fantaisie brillante sur des airs bohémiens nationaux op.22, his only Fantasie composition incorporating Slavic folksong themes.

The Dalibor 20/12/1860 review related that Teršák gave two concerts, the first on 11/12/1860, and the second on 16/12/1860. Although this report published programme details concerning the contributions of the other artists participating on each of these occasions, the works that Teršák himself performed during the course of both concerts were only listed as a whole, and were not individually attributed to either concert. The correspondent noted that the flautist played only his own compositions, ‘namely: Babillard - la Sirène - Souvenir de Brium [Brünn?] - Le Fou’, and a Fantasie on [Czech?] folksongs entitled Pozdravení na Prahu (Greetings for Prague). Wonder was expressed at Teršák’s virtuosity, the critic noting that ‘His technique is perfect [. . .] his skill is astonishing’, and described in detail how the virtuosic dexterity created an impression upon the ear of the listener of the music sounding as though it was being played in two parts, melody and counterpoint. Praise was also accorded to the flautist’s expressive playing: ‘Apart from his ability in fingering, in breathing and in tonguing, it is appropriate to point out his tasteful and expressive performance, particularly in adagios [i.e. slow movements], and in soft and touching passages.’ Concerning Teršák’s skills as a composer, the correspondent was more circumspect, pointing to an ability to write piquant, elegant and lyrical themes, but commenting that while the pieces contained many ‘rich and charming ideas’ they would have benefited from more detailed development.