Kalendereintragung Bruckners: »22.11. beim Minister« [Gautsch? Vgl. 2.10.1891] (*).

Kalendernotiz Bruckners: Zusatz »Br« bei dieser Woche [Dienst an der Hofkapelle], Dienstbeginn für den 21.11.1891 graphisch markiert (**).

Die Ostdeutsche Rundschau Nr. 46 berichtet auf S. 6 von einem von C. Hynais am 14.11.1891 veranstalteten Konzert in der Horakschen Musikschule:
      "Concertabend Hynais. [...]
     H. C. Hynais hat sich an diesem Abende (14.11.91) auch als Componist eingeführt. Die ersten drei Sätze eines Claviertrio (Op. 1, F-dur) verrathen, daß er eine tüchtige Schulung (A. Bruckner) genossen hat; [... Signatur auf S. 7:] Gosbert." (***).

Bruckner bedankt sich in der Neuen Freien Presse Nr. 9785 auf S. 4 für die Glückwünsche anlässlich der Ernennung zum Ehrendoktor:
        "Mittheilungen aus dem Publicum.
                        Danksagung.
     Innigst erfreut durch die mir von Nah und Fern zugekommenen, äußerst zahlreichen Sympathie=Bezeigungen aus Anlaß der hohen Auszeichnung, welche mir durch die k. k. Universität Wien zu Theil wurde, spreche ich hiemit auf diesem Wege allen meinen Gönnern und Freunden den herzlichsten, tiefgefühlten Dank aus.
                                   Professor Dr. Anton Bruckner." (°).

Diese Meldung erscheint auch im Neuen Wiener Tagblatt Nr. 321 auf S. 6:
                "Aus dem Publikum.
                        Danksagung.
     Innigst erfreut durch die mir von Nah und Fern zugekommenen, äußerst zahlreichen Sympathiebezeugungen aus Anlaß der hohen Auszeichnung, welche mir durch die k. k. Universität Wien zutheil wurde, spreche ich hiemit auf diesem Wege allen meinen Gönnern und Freunden den herzlichsten, tiefgefühlten Dank aus.
                                   Prof. Dr. Anton Bruckner." (°°)

Ausführliche Besprechung des "Te deum" (mit Analyse und Notenbeispielen) im St. Louis Globe-Democrat Nr. 175 auf S. 28:
"           THE JUBILEE MUSIC.
The Te Deum and the Messe solenelle
        to Be Sung on this Occasion.
Striking Peculiarities of Bruckner's Great
     Work–Philosophy and Religion as
         Expressed in Music–Leading
                 Features of the Two
                      Compositions.
     The popular features of the Archbishop's semi-centennial have almost diverted attention from the fact that the event is destined to have a musical as well as ecclesiastical and social significance. The occasion being one of extraordinary rarity, has induced those in charge of the musical programme to include in the list of compositions to be rendered, two of especial worth and importance, the Te Deum of Anton Bruckner, and the St. Cecelia [sic] Mass of Gounod, the gravity and dignity of these two compositions being such as to render them worthy, not only of this, but of any occasion of great religious importance. Te Deums are no novelty. [... Beispiele aus der Musikgeschichte bis Berlioz ...].
     Be this as it may, the fact remains that all these, to a certain extent, follow the rules of the schools, and about them all, however different in detail, there is a unity of plan, a sameness which could be felt but not described. It is also true that in the Bruckner Te Deum there is a departure entirely new. [... die frühere Festigkeit des Denkens ist Zweifeln und Hinterfragen gewichen ... in der Musik Umsturz durch Wagner ...]. The Te Deum of Bruckner is of the new school, and in it may be recognized many of the old peculiarities which distinguish the music of the Wagner cult. [... fremde Dissonanzen, Passagen ohne erkennbare Melodie, Sequenzen ohne Folge,  Vorbereitungen ohne Auflösung, unerwartete dynamische Kontraste, ...]. The composer has thoughts he tries to express, but can not; music is inadequate. He is in doubt, doubt which he is unable to solve, and for page after page struggles on until finally the light appears.
     In a certain sense, therefore, the work is the story of a life, and in a meaning still mere restricted, the history of an age. In less than a hundred pages it expresses the cravings of an unsatisfied spirit, the aspirations of the truth which come to every noble mind. [... Zweifel und Unsicherheiten in dieser Musik nachvollziehbar ...] in the work of Bruckner, it is possible to follow his changes of feeling from passage to passage; in one to discern the storm, in another to enjoy the momentary glimpses of sunshine ere the clouds again gather over the landscape.
     The Te Deum begins with a magnificent unison passage. The author feels certain of his ground. Whatever doubts may later waylay his footsteps, there are none in the grand opening strains.
     [... Besprechung der Anfangstakte und der Streicherfigur mit 2 Notenbeispielen ... Notenbeispiele Tibi omnes angeli ... Sanctus ... Pleni sunt coeli et terra,  ... Chorsatz teilweise achtstimmig ... in den Unisono-Passagen kein Zweifeln erkennbar ... 6 Takte Chorpartitur Aperuisti ...]. A moment's rest, and the tenor voice begins a solo of singular beauty [Notenbeispiel weiter unten].
     With various accompaniments from the other solo voices, the charming solo proceeds, ending, as it began, in the chord of F, but this time major instead of minor, and the full chorus takes up the strain, Aeterna fac cum Sanctis, with an orchestral accompaniment similiar in rhythm to that which characterized the opening of the composition. [... In gloria ... salvum fac populum ...  der folgende Chor ...] is one of the ablest bits of harmonization in the entire work. Recalling at once Wagner, Beetoven and Berlioz, the first in the abruptness of its enharmonic changes, the second in the native strength shown in every line, the third in its utter disregard of conventionality, this tremendous passage should make the reputation of a composer had he written nothing else. A quartet on the words In te spreavi leads up to a few bars of chorus, and the soprano gives out the subject for a fugue.
     [... Notenbeispiel ... Fuge als ein Zeichen der Rückbesinung auf Altes? Fuge jedoch sehr frei ...]. He shakes off once more, and for the last time, the shackles of rule and in the concluding chorus bursts into one of the most magnificent ascriptions of praise that ever came from human lips. Brushing away the pedantries of the musical schools and the sophistries of theologians, he rises above them both.
     [Notenbeispiel der letzten Takte In arternum ...]
     In this last tremendous effort not a shadow of doubt, not a shade of uncertainty can be detected. The truth is plain; solo, chorus and orchestra unite in a grand ascription of praise, and with these soul-thrilling notes the grandest Te Deum since the time of Handel comes to a fitting conclusion.
     The grand Messe Solenelle of Gounod [... über dieses Werk ...]." [keine Signatur] (°°°).

Auf Seite 29 wird der Ablauf des Festes bekannt gegeben:
"           FIFTY YEARS A BISHOP.
[...]
      The same evening [1.12.1891] the combined Catholic Church choirs will give a grand sacred concert in Music Hall. During the interval the laity will present their respects and congratulations to the Archbishop in various languages. Gov. David R. Francis will address his Grace on behalf of the citizens of the State. The grand chorus of 400 voices will render the anthem "Lord of Might," the first movement from the "Gloria" of Mozart's twelfth mass, and Bruckner's "Te Deum." The concert, outside of the religious features, will be one of the finest musical treats which has ever been given here. The production of a masterpiece like the "Te Deum" in the manner proposed is an event of more than ordinary importance. The solo parts in this production will be taken by Miss Adelaide Kalkman, soprano; Miss Teresa Finn, alto; Mr. Chas. Humphrey, tenor, and Mr. Edward Dierkes, basso. Prof.Joseph Otten will direct the entire production, the Choral Symphony Orchestra accompanying the choruses." (#).