• Society of Musical Artists: organizing institution
• Cecilia Society: participating institution, vv, orch
• Prague Men's Singing Society [Prager Männergesangsverein]: participating institution, vv
• Žofín Academy: participating institution, vv
• Hlahol: participating institution, vv
• Prague Conservatory: participating institution, vv, orch
• Estates Theatre orchestra: participating orchestra, orch

The unsigned Dalibor 1/1/1862 review and the Národní listy 17/12/1861 pre-concert report noted that the participants in this concert included members of the Žofín Academy, members of the Cecilia Society, pupils of the Conservatory, members of the Hlahol male voice singing society, members of the German singing society (Männergesangverein), members of the Estates Theatre, and ‘many amateurs.’ Hlahol had at this time only recently gained official sanction for its creation out of the private choir of the Prague singer Jan Ludevít Lukes. The first independent performance undertaken by the choral body under the name of Hlahol occurred on 9/2/1862 in an inaugural mass given for the society in the church of Sv Jakub [St James].

The Dalibor reviewer remarked: ‘The concert of the Society for Prague Musical Artists, which took place on Monday 23rd December in the Hall on Žofín, contained the new oratorio Abraham by Blumner. The principal virtue and strength of this work are the choruses that testify to the musical knowledge and ability of the composer. Less distinguished are the soli and the recitatives. The performance under the direction of Mr Jahn was not as it would have been under Fr. Škroup; that was the reason why some numbers received no applause. Participating in the oratorio were members of the Žofín Academy, Cecilia Society, Hlahol, the German Singing Society [Männergesangverein], of the Royal Estates Theatre and other amateurs. The solo parts were sung by Miss Miková, Ehrenbergová, Mrs Procházková, Miss Blažková, Bartschová and Drářdíková, then Messrs Krén, Lukes and Rafael. Among all these principally excelled Mr L. Lukes with his expressive performance.’

A review, signed ‘V.’ of this concert was published by Bohemia 24/12/1861. Prager Morgenpost 24/12/1861 also published a detailed review, signed ‘-a.’ The latter reported that ‘The Society of Musical Artists performed for the first time on Monday in the Hall of Žofín Island for the benefit of its Widows and Orphans Institute: Abraham, oratorio in three parts by M. Blumner. This was the first time in our knowledge that Blumner has come before the Prague public as a composer, and we may maintain that the impression made upon the listeners by this oratorio was really favourable. The dignity [Würde], we must say, the chasteness [Keuschheit] of the musical expression, that is so pleasantly expressed throughout the entire work, is unquestionably evident as the composer concerns himself with the classical noble muse of the old masters and penetrates into their spirit. The choruses are worked most rigorously, their polyphonic mastery has to be noted. Most of the choruses are fugal. For the fugues are happily chosen rousing themes, for example, in the second part to the words: “Wie gar unbegreiflich sind seine Wegem, und unerforschlich seine Gerichte!” The composer was less felicitous in his handling of arioso, where he is not entirely free from the charge of monotony. The most successful is the second-act aria of Abraham: “Ach Herr, erhöre mein Gebet!” The recitative makes a favourable impression its natural, speech-like declamatory style.’ The correspondent then noted that the orchestration of the composition was as pleasing as the vocal writing. Particular attention was drawn to the sonorous effect of the orchestration at the first appearance of the three angels, and ‘Truly magnificent and imposing is the Chorus of the heavely host: “Erhebet, ihr Städte”... In the performance under the direction of Theatre Kapellmeister Mr Jahn, there particiapted the gentlemen and ladies of the Žofín Academy, of the Cecilia Society, of the Mens Singing Society, of Hlahol, the pupils of the local Conservatory, the orchestral members of the Royal Estates Theatre, and many amateurs.’ After listing the soloists the reviewer noted that no numbers failed to be applauded in the first part of the work but in the second part the applause was more frugal. The orchestral playing was thought to ‘have left much to be desired. However, with so great a mass [of players] and with so little rehearsal the performance as a whole has to be credited.’