The Times Nr. 32082 berichtet auf S. 3 in der 4. Spalte von der Aufführung der 7. Symphonie am 23.5.1887:
"                   RECENT CONCERTS.
     At the third Richter concert last week [... über das Konzert vom 16.5.1887 ...].
     The Richter Concert of last Monday, the fourth of the series, introduced a novelty which had been promised more than once and had raised some expectation on account of the name of its author, Anton Bruckner. That name had gained a certain prominence from the fact that Wagner, with the generosity and kindness he knew so well how to show when inclined that way, took great interest in Bruckner's work, and, indeed, promised to have all his symphonies performed, leaving that pledge for his disciples to fulfil when death prevented him from doing so himself. Apart from the abstract merits of his music, it is not a matter for surprise that Wagner should have felt some sympathy for a composer so evidently intent upon paying him the highest compliment which it is said that one artist can pay to another. That Bruckner in certain sense imitates Wagner one realizes after listening to a few bars of the symphony in E, No. 7. There is the same vastness of design, the same amplitude, although by no means the same beauty, of orchestral treatment; and the peculiarities of Wagner's melos, including even the "turn" which forms an intrinsic part of the melody, and not a mere embellishment, are caught with surprising truthfulness. From this to genuine inspiration there is, of course, a long step, and that distance Herr Bruckner has so far failed to cover. Over-elaboration seems to be his besetting sin; when once he has caught hold of a theme, he twists and turns and "inverts" it, till at last the ear longs for a breath of fresh melodious air. On the credit side of the account we should mention a truly astounding degree of skill and scholarship, and that sincerity of purpose which distinguishes the artist from the mere manufacturer. Of the four movements the second, Adagio, is the first in order of merit. It is understood to have been written "as an elegy upon the death of Wagner," and introduces an impressive phrase from Herr Bruckner's setting of the Te Deum, to say nothing of an even more beautiful melody which serves as the first subject proper. Next in excellence comes the opening allegro. Of the scherzo we cannot speak well; it is a kind of mixture of the "Valkyrie's Ride" and the first movement of Beethoven's ninth symphony, and there is little of the lightness which gives its raison d'être to a scherzo. The finale appeared so long and diffuse that after a first hearing it left no definite impression on the mind. That Bruckner's is a remarkable musical individuality cannot be denied, and his seventh symphony excites the wish to know something of the six which have preceded it. In Brahms's Academic overture, Herr Richter's marvellous memory proved for once at fault. Conducting without book he missed the cue for the change of beat, the result being temporary confusion. [... Richter nahm in einer Ansprache die Schuld auf sich ... kurz zum Liebesduett der "Walküre" ...].
     [über weitere Konzerte ... keine Signatur]."