Kritik zur 3. Symphonie in der New York Times, S. 8:

          "THE SYMPHONY SOCIETY.

     The programme referred to in yesterday's TIMES as having been rehearsed by the Symphony Society of New-York Friday afternoon was repeated last night, on the occasion of the second concert given this season by that body. A second hearing of Anton Bruckner's hitherto unfamiliar symphony, the programme of which occupied one-half of the evening, did not change the unsatisfactory impression growing out of its earliest rendering. A[s] to form and workmanship it is a highly commendable achievement; the composer's motives are distinct and fluent, his thematic treatment reveals complete mastery of his art, and his instrumentation is rich, though not cloying, and vivid without being clangorous. Unfortunately, there is not in the whole composition a measure in which a spark of inspiration, or a grain of inventiveness is discernible; the symphony, in brief, is but a beautiful shell without a kernel. It was smoothly and expressively played last night under Mr. Walter Damrosch's leadership, but notwithstanding its satisfactory exposition, it produced no effect whatever. [... Gluck, Mendelssohn, Richard Wagner (Rheingold und Rienzi), Gounod ...]" [keine Signatur] (*).

 

Besprechung in der New York Tribune Nr. 14266 auf S. 4:

             "THE SYMPHONY SOCIETY.

     The second concert of the Symphony Society, which took place at the Metropolitan Opera House last night, was signalized by the production of a symphony by a composer hitherto unknown in this country and the singing of Eloi Sylva, of the German Opera.[... Programm ...]

     [...] Of the symphony, more can scarcely be said than that is was listened to with curiosity by the musicians to the audience, who were able to appreciate the difficulty which nowadays besets the composers who aspire to produce a work in the highest of instrumental forms. The composer, Herr Bruckner, is known here only as a professor of harmony at the Conservatory in Vienna, and it is indicative of the vast amount of intellectual labor which fails of recognition in Germany, that though this is the sixth symphony composed by a man who enjoys a fine reputation as a musical scholar, his name has hitherto been unknown to our programmes. And Herr Bruckner is now, we believe, in his sixtieth year. Since composing the symphony in D minor he has written a seventh symphony, which was performed in the early part of this year in Leipsic, and has just left the press. This composition, which is in the key of E major, contains a slow movement which evoked a loud chorus of praise from the critics, some of whom enthusiastically set it down as the finest symphonic movement produced since Beethoven, though this extravagant expression is probably of a piece with that short-sighted and forgetful style of criticism that overlooks all that was accomplished between Beethoven and Wagner.

     Herr Bruckner's artistic creed might be read in the symphony performed last night. He attests his devotion to Beethoven by writing a symphony at a time when many would have us believe that in this department the last word was spoken long ago, and, by borrowing, consciously  or unconsciously, much of the feeling of the first movement of the choral symphony for his first movement. He then publishes his admiration for Wagner by drawing on his dramas for much of the thematic material worked up in the symphony. That this was done consciously is plain enough from the fact that the work is inscribed to the Bayreuth master. The likeness between this symphony and the ninth of Beethoven is accentuated by the circumstance that both are in the key of D minor. But it might be said here that the resemblance stops with the key and the subject matter of the first movements. Of the tremendous emotional power of Beethoven's crowning work there is no trace in the work of the modern writer, which sounds pedantic and uninspired. The principal subject of the first movement in D minor gives character to the last movement as well, and changed to the major key provides a broad and sounding conclusion to the work. But, though treated in an manner that has no likeness at all with its prototype, it suggests Beethoven's first subject at its every entrance. This fact is unfortunate, in that it increases the severity of the judgment with which one listens to it. Of the four movements the Scherzo alone makes an unqualifiedly pleasing impression. It is fluent, fresh and vigorous in its rhythms and altogeteher such a piece of music as can be heard at any time with pleasure. The symphony is laid out on a liberal scale, but it is in no respect as revolutionary as might have been expected from so profound a devotee of Wagner as Herr Bruckner. It was given a respectful hearing, but the Scherzo alone called out an emphatic expression of pleasur from the listeners. Mr. Sylva's operatic manner is his concert manner. [... Vorbehalte gegen die Sprachbehandlung ...] The ballet music from Gluck was a delightful intermezzo." [keine Signatur] (**).

 

[In der Zeitung The Sun war keine Besprechung nachweisbar (überprüft: 5.-7.12.1885).]