Das Musikalische Wochenblatt Nr. 25 bringt auf S. 359 einen Bericht über die Aufführung der 7. Symphonie am 6.6.1893 in Leipzig (*) und erwähnt dieses Konzert auch auf S. 362 in der »Concertumschau« (**).
(*) "Berichte. Leipzig. Mit seinem 5. Concert beschloss am 6. Mai [sic] in der Alberthalle der Liszt-Verein seine Saison. Wie der um dieses Unternehmen hochverdiente Vorsitzende des Vereins, Hr. Prof. Martin Krause, immer bestrebt gewesen ist, die Programme dieser Concerte interessant zu gestalten, sei es durch die Wahl der Tonwerke oder Gewinnung vorzüglicher Solisten, so war er in diesen Beziehungen auch für das Schlussconcert bestens besorgt gewesen, indem in demselben Anton Bruckner's den Besuchern dieser Concerte wohl zu allermeist vorher noch unbekannte 7. Symphonie in Edur und Liszt's "Tasso" ("Lamento e Trionfo") vorgeführt wurden und zu demselben die einheimische ausgezeichnete Sängerin Frl. Clara Polscher und der jugendliche Violinvituos Hr. Alfred Krasselt aus Baden-Baden als solistisch Mitwirkende herangezogen worden waren. Dirigent des Concertes war Hr. Capellmeister Paur, das Orchester bestand aus der trefflichen, durch Mitglieder des neu begründeten Philharmonischen Orchesters verstärkten Capelle des 134. Infanterie-Regiments. Die Bruckner'sche Symphonie, welche Anfang 1885 [sic] unter Nikisch's Leitung in einem Theaterconcert zu ausserordentlich wirkungsvoller Ausführung gelangte, haben wir mit grossem Interesse wieder gehört, wenn wir auch gestehen müssen, diesmal nicht denselben günstigen Eindruck von ihr empfangen zu haben, wie damals, indem uns dabei die ungewöhnlichen und unmotivirten Längen und Wiederholungen in den sämmtlichen vier Sätzen und speciell der schon früher gekennzeichnete mehr rhapsodische, als symphonische Charakter des 1. und 4. Satzes viel mehr aufgefallen sind, als bei der ersten Bekanntschaft mit dem Werke, eine Wahrnehmung, die wir hinsichtlich der monirten Weitschweifigkeit bereits kürzlich in München bei Anhörung des Adagios machten [27.5.1893]. Allerdings stand die letzte Leipziger Aufführung der Composition, eine so verständniss- und temperamentvolle Auffassung seitens des Dirigenten sie auch überall erkennen liess, in der technischen Ausarbeitung – wohl infolge nicht ausreichender Proben – der früheren Leipziger Reproduction wesentlich nach, und es dürfte ausserdem Nikisch wohl auch durch einige Kürzungen die Gesammtwirkung des Werkes gefördert haben. [... über die anderen Programmnummern und andere Konzerte ...]." [keine Signatur] (*).
(**) "Leipzig. 5. Conc. des Liszt-Ver. unt. Leit. des Hrn. Paur: 7. Symph. v. A. Bruckner, "Tasso" [... die übrigen Programmnummern (mindestens 11) ...]." (**).
Auf S. 361 ist das Konzert vom 29.4.1893 verzeichnet: "Innsbruck. 5. Mitgliederconc. des Musikver. (Pembaur): [...], "Ave Maria" f. Chor u. Soli (Frl. Stötter u. Frau Wolf) m. Orgel v. A. Bruckner [WAB 5], [...]." (***).
Die in Rochester erscheinende Zeitung Democrat and Chronicle Nr. 142 veröffentlicht auf S. 7 in der 3. Spalte einen Wiener Korrespondentenbericht [siehe die Anmerkung]:
" AMERICA'S MUSICAL FUTURE.
What Eminent Composers Think of Dvorak's Negro Melody Idea.
Vienna Correspondence New York Herald.
Vienna has ever been one of the great musical centers of the world. [... Bedeutung in der Musikgeschichte ...].
Foremost among the composers are Herr Johannes Brahms, the friend of Liszt and Schumann; Herr Anton Bruckner, whose symphonies may be heard from one end of the world to the other and who is considered to be the finest living organist; Herr Edward Hanslick, Herr Richard Heuberger and Herr Eusebius Mandyczewski. [... Dirigenten: Jahn, Hans Richter, Hellmesberger, Johann Strauß, Eduard Strauss ...].
I have been fortunate enough to obtain the opinion of several of these distinguished musicians with regard to the future music of America, and especially with regard to Dr. Anton Dvorak's theory that the future music of the western world must based on its negro melodies.
My first interview was with Professor Anton Bruckner, whom I found sitting in his study by nearly a hundred wreaths, all bearing ribbons with inscriptions commemorative of one or another of his triumphs. He is an elderly man, has been brought up amid the traditions of the strictest school, and I was therefore little surprised when he asserted that the basis of all music must be found in the classical works of the past. German musical literature, he declared, contained no written text emanating from the negro race, and however sweet the negro melodies might be they could never form the groundwork of the future music of America.
Professor Bruckner, I may add, is no admirer of Wagner [sic!], and though he believes in progress and study, and is ready to admire genius wherever it is found, is of the opinion that the modern school has produced nothing that can be compared with the great masterpieces of old. Before I left him he referred to the immense success of his symphonies in New York, Boston, Chicago, and other great cities of the United States and concluded by expressing his admiration for the American nation. "Ich verehre die Amerikaner, eine grosse nation," he said.
Professor Eusebius Mandyczewski, whom I next visited, expressed somewhat similar views. [... dessen Meinung über Dvorak ...]
[... Hans Richter (reist nach London) ...]. He spoke of the gypsy race in Hungary, every man, woman and child of which plays by ear, but said that it was quite an exceptional thing for a gypsy to play from written music." [keine Signatur, vermutlich Otto Florsheim (siehe die Anmerkung)] (°).
" AMERICA'S MUSICAL FUTURE.
What Eminent Composers Think of Dvorak's Negro Melody Idea.
Vienna Correspondence New York Herald.
Vienna has ever been one of the great musical centers of the world. [... Bedeutung in der Musikgeschichte ...].
Foremost among the composers are Herr Johannes Brahms, the friend of Liszt and Schumann; Herr Anton Bruckner, whose symphonies may be heard from one end of the world to the other and who is considered to be the finest living organist; Herr Edward Hanslick, Herr Richard Heuberger and Herr Eusebius Mandyczewski. [... Dirigenten: Jahn, Hans Richter, Hellmesberger, Johann Strauß, Eduard Strauss ...].
I have been fortunate enough to obtain the opinion of several of these distinguished musicians with regard to the future music of America, and especially with regard to Dr. Anton Dvorak's theory that the future music of the western world must based on its negro melodies.
My first interview was with Professor Anton Bruckner, whom I found sitting in his study by nearly a hundred wreaths, all bearing ribbons with inscriptions commemorative of one or another of his triumphs. He is an elderly man, has been brought up amid the traditions of the strictest school, and I was therefore little surprised when he asserted that the basis of all music must be found in the classical works of the past. German musical literature, he declared, contained no written text emanating from the negro race, and however sweet the negro melodies might be they could never form the groundwork of the future music of America.
Professor Bruckner, I may add, is no admirer of Wagner [sic!], and though he believes in progress and study, and is ready to admire genius wherever it is found, is of the opinion that the modern school has produced nothing that can be compared with the great masterpieces of old. Before I left him he referred to the immense success of his symphonies in New York, Boston, Chicago, and other great cities of the United States and concluded by expressing his admiration for the American nation. "Ich verehre die Amerikaner, eine grosse nation," he said.
Professor Eusebius Mandyczewski, whom I next visited, expressed somewhat similar views. [... dessen Meinung über Dvorak ...]
[... Hans Richter (reist nach London) ...]. He spoke of the gypsy race in Hungary, every man, woman and child of which plays by ear, but said that it was quite an exceptional thing for a gypsy to play from written music." [keine Signatur, vermutlich Otto Florsheim (siehe die Anmerkung)] (°).
Das in Dublin (Irland) erscheinende Freeman's Journal schreibt auf S. 4 in der 6./7. Spalte ausführlich über Dvoraks Idee, eine amerikanische Musik "lies in a reversion to the sources of negro melodies":
"AN AMERICAN SCHOOL OF MUSIC.
OUR readers will remember that Anton Dvorak, the eminent Bohemian musical composer, sailed for America in August of last year [... ausführliche Darstellung des Themas ... Interviews des New York Herald dazu ...]. A well-known American composer, Mr. Arthur Bird, writes from Berlin, "My ideal of an American school is a mixture of French and German. The French are far ahead of the Germans. As for negro melodies their features are sadness and simplicity. They are musical, but their simplicity would probably lose something by being made instrumental.' Two of the best authorities in Vienna, Herren Anton Bruckner and Hans Richter, write in an even more adverse sense of Dvorak's theory. "Negro melodies," says the former, "can never become the groundwork of a school of music," while the latter refuses to believe in the possibility of a future school of music proceeding from a race which sings and plays by ear." [...]" [keine Signatur] (°°).
"AN AMERICAN SCHOOL OF MUSIC.
OUR readers will remember that Anton Dvorak, the eminent Bohemian musical composer, sailed for America in August of last year [... ausführliche Darstellung des Themas ... Interviews des New York Herald dazu ...]. A well-known American composer, Mr. Arthur Bird, writes from Berlin, "My ideal of an American school is a mixture of French and German. The French are far ahead of the Germans. As for negro melodies their features are sadness and simplicity. They are musical, but their simplicity would probably lose something by being made instrumental.' Two of the best authorities in Vienna, Herren Anton Bruckner and Hans Richter, write in an even more adverse sense of Dvorak's theory. "Negro melodies," says the former, "can never become the groundwork of a school of music," while the latter refuses to believe in the possibility of a future school of music proceeding from a race which sings and plays by ear." [...]" [keine Signatur] (°°).
Zitierhinweis:
Franz Scheder, Anton Bruckner Chronologie Datenbank, Eintrag Nr.: 189306155, URL: www.bruckner-online.at/ABCD-189306155letzte Änderung: Feb 13, 2024, 9:09