Theodor Hämmerle übersendet Bruckner den Vertrag mit der Firma Groß über die Verlegung der d-moll-Messe (*a).

Brief von Theodor Hämmerle an Bruckner:
    Mit der Überlassung der d-Moll-Messe für eine Aufführung sei es ihm möglich, Bruckners Namen nicht nur in Dornbirn bekannt zu machen, sondern durch den Verlag S. A. Reiß auch in weiteren Kreisen. Seit dem Anhören des »Te deum« [vermutlich 22.1.1888 gemeint] sei er überzeugt, daß die kirchlichen Werke den Symphonien nicht nachstehen. Der Verleger wolle keinen Gewinn aus dem Vertrieb ziehen. Bruckner möge aber zur Sicherung des Verlagsrechtes die beiliegende Erklärung unterzeichnen [vgl. 4.9.1891] (*).

Brief von Oberleithner an Robert Lienau:
   [vermutlich den Vertrag zur Drucklegung der 8. Symphonie betreffend] (**).
Der von Oberleithner geschriebene Vertrag (Datierung "30. Juni 1891") regelt den finanziellen Beitrag Bruckners für die Herstellung von Partitur, Stimmen und vierhändigem Klavierauszug, die Fertigstellung durch Lienau bis Oktober 1891, die Absatzgarantie Oberleithners für 100 Klavierauszüge und die Beteiligung Bruckners am Gewinn mit 50 % (**a).
[Vermutlich wurde dieser Vertrag am 4.7.1891 von Lienau retourniert und dann erst von beiden unterschrieben.]

Besprechungen des gestrigen Konzerts mit der 3. Symphonie in den Daily New Nr. 14114 auf S. 6 in der 1. Spalte:
"                   MUSIC.
            RICHTER CONCERTS.
     The Richter concert given at St. James's Hall last evening was under the direct auspices of the London Wagner Society; [... Wagner-Werke mit Solo und für Orchester ...] the prelude and closing scene from "Tristan," which has long been a favourite at these concerts. The place of honour was occupied by the third of the symphonies of Anton Bruckner, the veteran professor of harmony and counterpoint at the Vienna Conservatory, who some seven years ago, at the mature age of sixty, suddenly became famous as the composer of a symphony which has already been tried at the Richter concerts. The works [sic] in D minor performed last night was written in 1876, and was dedicated to Wagner. A note in the programme book appeals to the audience to listen to the new symphony "with patience and forbearance," and further reminds them that some of the Viennese critics, who formerly condemned it, have since recanted. Even without this hint it was obvious that a work so abstruse, and which amidst abundant evidence of scholarship contains much that is new, and not a little that is strange, could not fairly be judged at first hearing. Far more pleasant to listen to was the popular symphony by Haydn in D [...] a very agreeable sign that even the advanced Wagner party are by no means inclined to discard the masterpieces of old." [keine Signatur] (***),

in The Standard Nr. 20898 auf S. 2 in der 8. Spalte:
"           THE RICHTER CONCERTS.
     According to an annual custom [...] the concert of yesterday evening was given in connection with the Wagner Society [... diesmal nicht überwiegend Wagner ...] the two most conspicuous items were Haydn's so-called "Clock" Symphony, and another symphonic work by Anton Bruckner, an Austrian musician, whose enthusiastic admiration of Wagner secured him corresponding sympathy and homage from a composer who was certainly not deaf to tributes which had the mark of sincerity. Bruckner has written seven symphonies, the last of which was performed at the Richter concerts in 1887, and naturally attracted much attention, though it cannot be said that the impression it created was sufficiently favourable to cause a widespread desire to make further acquaintance with compositions from the same hands. The symphony played last night is No. 3 in D minor, and it bears a special dedication to Wagner. First performed at Vienna in 1876 [sic], it has since undergone extensive modification, and its revised shape it is said to have been received with much enthusiasm in the Austrian capital, critics who previously condemned it having recanted their unfavourable opinions. For this reason the audience in St. James's Hall was bidden to listen to the work "With patience and forbearance," and certainly both feelings were needed in large measure. The opening movement seemed to be founded to a considerable degree upon the corresponding section of Beethoven's Choral Symphony, and the succeeding Adagio, ostensibly in E flat, proved so discursive in the matter of tonality that its course was very difficult to follow. The Scherzo is less vague in construction, and, therefore, more agreeable at a first hearing, but the finale is again curious as regards the sequence of keys, the first theme in D minor, being rudely contrasted with the second in F sharp major. What is gained by these odd deviations from classical procedure it is hard to say. Haydn's delicious work was played by a selection of the orchestra numbering about forty performers, and its effect was very charming. Wagner was represented by [... Tristan und Arien aus Tannhäuser und Fliegender Holländer ...], both of which were sung with much effect by Madame Nordica." [keine Signatur] (°),

in The Birmingham Daily Post Nr. 10302 auf S. 6 in der 2. Spalte:
"     LONDON CORRESPONDENCE.
                             LONDON, Monday Night.
[...].
     The sixth Richter concert took place at St. James's Hall this evening, when there was not such a full audience as usual. This concert was given in conjunction with the Wagner Society, though the programme was not confined entirely to the maters's works, as it included Haydn's "Clock" symphony, and Bruckner's symphony in D (which he dedicated to Wagner), both of which received good treatment from the orchestra, though the strings were not quite so certain as usual. [... bei Tristan besser ... Solistin Madame Nordica ...], being recalled again and again after her first solo.
     [... über ein Cricket-Spiel ...]." [keine Signatur] (°°)

und in The Pall Mall Gazette Nr. 8198 auf S. 2 in der 1. Spalte:
"                       Music.
           THE RICHTER CONCERT.
     Although last night's concert under Dr. Richter was given in connection with the Wagner Society of London, the programme was not specially interesting, for the good works were by no means new, and the new work was not specially good. The best of all the numbers [... Tristan ... Arien mit Mme. Nordica...]. The concert opened with the time-honoured "Clock" Symphony by Haydn, and was brought to an effective close by a performance, for the first time in England, of Herr Bruckner's Symphony in D minor, which is dedicated to Wagner." [keine Signatur] (°°°).