Aufführung der 3. Symphonie unter Schuch in Dresden (**).
   Anwesend sind Otto Kitzlers Bruder (***), Emil Naumann (°), König Albert, [sein Bruder] Prinz Georg und [dessen Töchter,] die Prinzessinnen Mathilde und Maria Josepha (°a) und die Kritiker Niese und Seuberlich (°°), »A. B.« (°°°) und »F. G.« (#), vermutlich auch das Ehepaar Rappoldi-Kahrer (##).

Kurze Besprechung des Konzerts vom 5.12.1885 (mit der 3. Symphonie) in der Chicago Tribune auf S. 5:
"                      AMUSEMENTS.
[... über eine Primadonna ...]
                              ———
     A new symphony was played by the New York Symphony society at its last concert. It was Bruckner's 6th [sic] symphony in D minor. The work was regarded as clever and musicianly, but uninspired. Its first movement recalles Beethoven's 9th; the others, Wagner. This is the first time that Bruckner's name has appeared on an American program.
     Anton Rubinstein is now giving in Vienna his Cyclus [...]." (###).

Über New York berichtet auch die in New Orleans erscheinende Zeitung The Daily Picayune Nr. 312 auf S. 8 in der 3. Spalte, signiert "Vidette":
"           GOTHAM GOSSIP.
[... Übersicht: "[...] –SECOND SYMPHONY CONCERT–ANTON BRUCKNER'S NEW COMPOSITION– [...]" ...]
Special Correspondence of the Picayune.]
               NEW YORK, Dec. 6, 1885.
[...]
     The Second Symphony Concert, at the Metropolitan Opera House last evening, was especially interesting because of the production for the first time here of Anton Bruckner's new symphony in D Minor. This composition has these movements: Moderato, piu agitate [sic], misterioso; Adagio, quasi andante; Scherzo and Finale, allegro. It is a pretentious work and one of much technical excellence. Perhaps it might properly be calle [sic] a symphony of the Wagner school, for it is full of sudden transitions and strange surprises and is marked by a good deal of fury of sound. Still it is consistent and the themes are very deftly evolved. What it lacks is artistic soul. It does not reach the inner being of the listener, but is coldly admired. It was performed in a masterly manner by the orchestra under the conductorship of Walter Damrosch, who revealed with great precision and faithfulness its highest merits. The warmer applause that greeted the delightful interpretation of the Airs de Ballet from Gluck's "Iphigenie in Aulis" and the Overture to Mendelssohn's "Fingal's Cave" showed, however, that the audience had no decided affinity for Bruckner. [... die restlichen Werke, Plan einer konzertanten "Parsifal"-Aufführung (in London zweimal vor 6 - 8000 Besuchern) ... weitere kulturelle Beiträge ...].        VIDETTE." (a).