Besprechungen der Aufführung der 4. Symphonie am 16.3.1888 erscheinen
in The New York Times Nr. 11403 auf S. 4 in der 7. Spalte:
" AMUSEMENTS.
" AMUSEMENTS.
CHICKERING HALL.
Herr Anton Seidl's second symphony concert, which took place at Chickering Hall last evening was as full of good qualities as a cocosnut is of milk. It was attended by another large audience, whose kindly regard for the conductor quite ran away with its judgment and found expression in applause not always deserved. This has reference only to the novelty of the evening–Anton Bruckner's "Romantic Symphony"–which may be dismissed briefly. According to a note on the programme this composition is intended to give some idea of a country life. Judging from the composer's expression of his ideas in this symphony, his conception of a country life is chiefly founded on greeen apples, eolic [?], and thunderstorms, with recollections of the feelings of a man who mistook a hornets' nest for a high white hat. Lost this be deemed too frivolous for the occasion, let us hasten to add that Bruckner's symphony is without melodious themes of any kind, is chaotic and incomprehensible in construction, and is instrumented in an aggressively blatant style which results in confusion worse confounded. It should be put upon the top shelf of a musical curiosity shop, and kept there till the dust of ages gives it a factitious respectability which it does not now possess. The concert began with Beethoven's E flat piano concerto, [... Solist ein Virtuose, kein Künstler ... Lob für Lehmann und Kalisch ...]. The concert concluded with the funeral march from "Die Götterdämmerung," played in memory of Kaiser Wilhelm. The work of the orchestra was generally commendable, and Herr Seidl conducted with splendid firmness and fire." [keine Signatur] (*)
und in der New York Tribune Nr. 15098 auf S. 4 in der 5. Spalte:
" MUSIC–THE DRAMA.
SECOND SEIDL SYMPHONY CONCERT.
The second Seidl Symphony Concert took place last night in Chickering Hall. It was a most interesting musical event, and one of our best audiences enjoyed the occasion. The programme included: [... Beethoven ...]; "Romantic Symphony, No. 4, in E-flat major," in four movements, Anton Bruckner; "Tannhauser," [... Werke, Solisten ...]. The Bruckner symphony was heard for the first time in America last night, and also the rewritten scene between "Venus" and "Tannhauser."
[... Mr. Sherwood gave [... Beethoven ... Seidls Leistung höher bewertet ...].
The "Romantic" symphony, Anton Bruckner's fourth production in the greatest orchestral form, can only be called a symphony by allowing that the descriptive adjective "romantic" has had a justifiable influence on classic form. With the exception of the Scherzo (representative of a hunt) none of the movements shows the form of the classic or even of the modern symphony, as followed by Brahms, Rubinstein and Raff, and certainly still less that of Schumann, who was the most representative of "romantic" symphonists. Everywhere the work is rhapsodical, episodical und spasmodic. There is no logical symphonic development of the themes given, and the whole work seems to have been written more for the sake of working up tremendous orchestral climaxes and of producing peculiar harmonic effects than for the sake of writing a symphony. The descriptive title of "Symphonic Fantasia" in four movements, would, therefore, have been considerably more appropriate than the designation of "symphony," which the work ist not. The first movement in E-flat opens with a broad horn call on a descending fifth, and this gradually widens into a rather beautiful theme, the only broad and entirely satisfactory symphonic theme the work contains. The second theme in D-flat is rather weak in invention, and only interesting through the peculiarity of orchestral treatment to which it is subjected. The Andante in C-minor is the weakest movement of the four. Not only is the principal theme short-breathed, jerky and not original, but even the treatment is not particularly interesting. A short episode in B-major, however, which interrupts (without symphonic reason or justification) the movement is rather beautiful, and in the off-hand manner in which it is dropped into the movement affords a short pleasure and relief. The Scherzo is undoubtedly the best part of the work and the least unsatisfactory to the hearer. It stands in B-flat, and the use of six horns (strongly suggestive of the opening of the second act of "Tristan") gives it a sonority and an orchestral color at once descriptive of its title, "The Hunt." The trio in G-flat, which the composer describes as "Table music of the hunters in the wood," is simplicity itself in thought and orchestration; at its conclusion the "Hunt" is resumed. The last movement, in contrast to its three predecessors which are, as Bruckner always is and strives to be, Wagnerian, is thoroughly Meyerbeerian in the invention of its thematic material and in the use of the brass. The short theme in C-minor, the most important one of the movement, is bodily taken from "Robert." The orchestral treatment is a constant striving (by the use of crescendos) after dynamic climaxes, but as these climaxes when they fall upon the ear with appalling power do not convey any musical thoughts, but only so much musical noise, their frequent reiteration finally becomes wearisome and unsatisfactory. The performance of the work showed Seidl's untiring energy and his ability to get out of his men all the power thea are able to produce. The effect, however, would have been heightened considerably if the intonation, especially in the woodwind, had been more clear. The Bacchanale from the Paris version of Wagner's "Tannhauser" has been heard here frequently under Thomas, but Mr. Seidl's interpretation showed, if less finish and accuracy, a more tremendous working up of it is subjected. The Andante in C-minor is the weakest movement of the four. Not only is the principal theme short-breathed, jerky and not original, but even the treatment is not particularly interesting. A short episode in B-major, however, which interrupts (without symphonic reason or justification) the movement is rather beautiful, and in the off-hand manner in which it is dropped into the movement affords a short pleasure and relief. The Scherzo is undoubtedly the best part of the work and the least unsatisfactory to the hearer. It stands in B-flat, and the use of six horns (strongly suggestive of the opening of the second act of "Tristan") gives it a sonority and an orchestral color at once descriptive of its title, "The Hunt." The trio in G-flat, which the composer describes as "Table music of the hunters in the wood," is simplicity itself in thought and orchestration; at its conclusion the "Hunt" is resumed. The last movement, in contrast to its three predecessors which are, as Bruckner always is and strives to be, Wagnerian, is thoroughly Meyerbeerian in the invention of its thematic material and in the use of the brass. The short theme in C-minor, the most important one of the movement, is bosily traken from "Robert." The orchestral treatment is a constant striving (by the use of crescendos) after dynamic climaxes, but as these climaxes when they fall upon the ear with appalling power do not convey any musical thoughts, but only so much musical noise, their frequent reiteration finally becomes wearisome and unsatisfactory.
The performance of the work showed Seidl's untiring energy and his ability to get out of his men all the power thea are able to produce. The effect, however, would have been heightened considerably if the intonation, especially in the woodwind, had been more clear.
The Bacchanale from the Paris version of Wagner's "Tannhauser" has been heard here frequently under Thomas, but Mr. Seidl's interpretation showed, if less finish and accuracy, a more tremendous working up of climaxes. [...].
The singing of Frau Kalisch-Lehmann, as well as that of her husband, was magnificent. For Frau Kalisch-Lehmann it was a great triumph; her husband was most enthusiastically received." [keine Signatur] (**)
" MUSIC–THE DRAMA.
SECOND SEIDL SYMPHONY CONCERT.
The second Seidl Symphony Concert took place last night in Chickering Hall. It was a most interesting musical event, and one of our best audiences enjoyed the occasion. The programme included: [... Beethoven ...]; "Romantic Symphony, No. 4, in E-flat major," in four movements, Anton Bruckner; "Tannhauser," [... Werke, Solisten ...]. The Bruckner symphony was heard for the first time in America last night, and also the rewritten scene between "Venus" and "Tannhauser."
[... Mr. Sherwood gave [... Beethoven ... Seidls Leistung höher bewertet ...].
The "Romantic" symphony, Anton Bruckner's fourth production in the greatest orchestral form, can only be called a symphony by allowing that the descriptive adjective "romantic" has had a justifiable influence on classic form. With the exception of the Scherzo (representative of a hunt) none of the movements shows the form of the classic or even of the modern symphony, as followed by Brahms, Rubinstein and Raff, and certainly still less that of Schumann, who was the most representative of "romantic" symphonists. Everywhere the work is rhapsodical, episodical und spasmodic. There is no logical symphonic development of the themes given, and the whole work seems to have been written more for the sake of working up tremendous orchestral climaxes and of producing peculiar harmonic effects than for the sake of writing a symphony. The descriptive title of "Symphonic Fantasia" in four movements, would, therefore, have been considerably more appropriate than the designation of "symphony," which the work ist not. The first movement in E-flat opens with a broad horn call on a descending fifth, and this gradually widens into a rather beautiful theme, the only broad and entirely satisfactory symphonic theme the work contains. The second theme in D-flat is rather weak in invention, and only interesting through the peculiarity of orchestral treatment to which it is subjected. The Andante in C-minor is the weakest movement of the four. Not only is the principal theme short-breathed, jerky and not original, but even the treatment is not particularly interesting. A short episode in B-major, however, which interrupts (without symphonic reason or justification) the movement is rather beautiful, and in the off-hand manner in which it is dropped into the movement affords a short pleasure and relief. The Scherzo is undoubtedly the best part of the work and the least unsatisfactory to the hearer. It stands in B-flat, and the use of six horns (strongly suggestive of the opening of the second act of "Tristan") gives it a sonority and an orchestral color at once descriptive of its title, "The Hunt." The trio in G-flat, which the composer describes as "Table music of the hunters in the wood," is simplicity itself in thought and orchestration; at its conclusion the "Hunt" is resumed. The last movement, in contrast to its three predecessors which are, as Bruckner always is and strives to be, Wagnerian, is thoroughly Meyerbeerian in the invention of its thematic material and in the use of the brass. The short theme in C-minor, the most important one of the movement, is bodily taken from "Robert." The orchestral treatment is a constant striving (by the use of crescendos) after dynamic climaxes, but as these climaxes when they fall upon the ear with appalling power do not convey any musical thoughts, but only so much musical noise, their frequent reiteration finally becomes wearisome and unsatisfactory. The performance of the work showed Seidl's untiring energy and his ability to get out of his men all the power thea are able to produce. The effect, however, would have been heightened considerably if the intonation, especially in the woodwind, had been more clear. The Bacchanale from the Paris version of Wagner's "Tannhauser" has been heard here frequently under Thomas, but Mr. Seidl's interpretation showed, if less finish and accuracy, a more tremendous working up of it is subjected. The Andante in C-minor is the weakest movement of the four. Not only is the principal theme short-breathed, jerky and not original, but even the treatment is not particularly interesting. A short episode in B-major, however, which interrupts (without symphonic reason or justification) the movement is rather beautiful, and in the off-hand manner in which it is dropped into the movement affords a short pleasure and relief. The Scherzo is undoubtedly the best part of the work and the least unsatisfactory to the hearer. It stands in B-flat, and the use of six horns (strongly suggestive of the opening of the second act of "Tristan") gives it a sonority and an orchestral color at once descriptive of its title, "The Hunt." The trio in G-flat, which the composer describes as "Table music of the hunters in the wood," is simplicity itself in thought and orchestration; at its conclusion the "Hunt" is resumed. The last movement, in contrast to its three predecessors which are, as Bruckner always is and strives to be, Wagnerian, is thoroughly Meyerbeerian in the invention of its thematic material and in the use of the brass. The short theme in C-minor, the most important one of the movement, is bosily traken from "Robert." The orchestral treatment is a constant striving (by the use of crescendos) after dynamic climaxes, but as these climaxes when they fall upon the ear with appalling power do not convey any musical thoughts, but only so much musical noise, their frequent reiteration finally becomes wearisome and unsatisfactory.
The performance of the work showed Seidl's untiring energy and his ability to get out of his men all the power thea are able to produce. The effect, however, would have been heightened considerably if the intonation, especially in the woodwind, had been more clear.
The Bacchanale from the Paris version of Wagner's "Tannhauser" has been heard here frequently under Thomas, but Mr. Seidl's interpretation showed, if less finish and accuracy, a more tremendous working up of climaxes. [...].
The singing of Frau Kalisch-Lehmann, as well as that of her husband, was magnificent. For Frau Kalisch-Lehmann it was a great triumph; her husband was most enthusiastically received." [keine Signatur] (**)
Schließlich schreibt auch The Sun Nr. 199 auf S. 2 in der 7. Spalte über dieses Konzert:
" AMUSEMENTS.
Anton Seidl's Concert.
The second of Conductor Seidl's three symphonic concerts was given last evening at Chickering Hall, with the following programme:
[... Beethoven ...]
Romantic Symphony . . . . . Anton Bruckner
[... Wagner Tannhäuser ...]
The concert was a brilliant one, though unequal in excellence, and so lacking in that consistency which is so important an element in an perfect scheme. The audience was predisposed to amiability, from a remembrance of the satisfaction given in such full measure by the preceding performance of the series, and, therefore, not only did Mr. Sherwood receive an unwarranted share of hand clapping, after his rendering of the concerto, but the Bruckner symphony was applauded beyond its deserts. [... Vorbehalte gegen Sherwoods Beethoven-Interpretation ...].
As for the new Bruckner composition, though an improvement on its unfortunate brother symphony, which was presented to a philharmonic audience last year, it has little or nothing to recommend it except its novelty and some elaboration of instrumentation. Though varied and ornate, the orchestration is neither novel in invention nor beautiful enough to compensate for a paucity of musical ideas and a sameness of contrapuntal methods. There is a large preponderance of brass in the Bruckner piece, and the whole is noisy without being impressive. In fact, the whole concert was too loud for Chickering Hall–the best effects of the band were lost for want of distance and space over which the sound might dissipate itself. Perhaps only the Tannhäuser music stood this trying test well. This was undoubtedly loudest of all, yet so exquisitely woven are the hamonies, so graceful the undulating, twining themes, that the intoxicating music took but stronger, more potent hold upon the bewildered sendes from the tremendous force of the volume of tone. [...].
[... Lob für Lehmann und Kalisch ...].
The concert closed with the funeral march from "Götterdämmerung," played in honor of the revered late Emperor. " [keine Signatur] (***).
" AMUSEMENTS.
Anton Seidl's Concert.
The second of Conductor Seidl's three symphonic concerts was given last evening at Chickering Hall, with the following programme:
[... Beethoven ...]
Romantic Symphony . . . . . Anton Bruckner
[... Wagner Tannhäuser ...]
The concert was a brilliant one, though unequal in excellence, and so lacking in that consistency which is so important an element in an perfect scheme. The audience was predisposed to amiability, from a remembrance of the satisfaction given in such full measure by the preceding performance of the series, and, therefore, not only did Mr. Sherwood receive an unwarranted share of hand clapping, after his rendering of the concerto, but the Bruckner symphony was applauded beyond its deserts. [... Vorbehalte gegen Sherwoods Beethoven-Interpretation ...].
As for the new Bruckner composition, though an improvement on its unfortunate brother symphony, which was presented to a philharmonic audience last year, it has little or nothing to recommend it except its novelty and some elaboration of instrumentation. Though varied and ornate, the orchestration is neither novel in invention nor beautiful enough to compensate for a paucity of musical ideas and a sameness of contrapuntal methods. There is a large preponderance of brass in the Bruckner piece, and the whole is noisy without being impressive. In fact, the whole concert was too loud for Chickering Hall–the best effects of the band were lost for want of distance and space over which the sound might dissipate itself. Perhaps only the Tannhäuser music stood this trying test well. This was undoubtedly loudest of all, yet so exquisitely woven are the hamonies, so graceful the undulating, twining themes, that the intoxicating music took but stronger, more potent hold upon the bewildered sendes from the tremendous force of the volume of tone. [...].
[... Lob für Lehmann und Kalisch ...].
The concert closed with the funeral march from "Götterdämmerung," played in honor of the revered late Emperor. " [keine Signatur] (***).
(Brief von Joh. Ev. Habert an Bernhard Deubler: Übersendet die Stichvorlage der Cäcilien-Messe (die Direktionspartitur habe Hellmesberger). Gesamtausgabe derzeit im Stocken, da er nicht genügend zu Subskriptionen aufrufe. Freut sich, dass St. Florian eine Habert-Messe macht (Einsiedeln sei der Vorreiter). Beklagt die Teilnahmlosigkeit bei dem Klerus, den er gegen Witt unterstützte. Komponiert nun auch weltliche Musik. Burgstaller habe seinerzeit [29.9.1887] einige Tempi der Cäcilien-Messe trotz Metronomangaben verfehlt. Wird Hellmesberger um eine Verschiebung der Messe in den Herbst bitte, um in Wien ein Konzert besuchen zu können (°)).
Zitierhinweis:
Franz Scheder, Anton Bruckner Chronologie Datenbank, Eintrag Nr.: 188803175, URL: www.bruckner-online.at/ABCD-188803175letzte Änderung: Feb 15, 2025, 17:17