Die Neue Freie Presse Nr. 12294 weist auf S. 9 darauf hin, daß bei Albert J. Gutmann neue Musikalien erschienen sind, darunter die 4. Symphonie in einer Bearbeitung für Klavier zweihändig (*).

Die Neue Musikalische Presse kündigt die Aufführung der 2. Symphonie am 27.11.1898 an (**).

Ausführliche Würdigung Bruckners (mit Erwähnung Göllerichs) und der 5. Symphonie [Aufführung am 24.10.1898] in The New York Times Nr. 15239 auf S. 7:
"BERLIN'S ARTISTIC SEASON
[...] Arthur Nikisch Produces an Early Symphony of Anton Bruckner.
     BERLIN, Nov. 1.–The result of the elections of the Prussian Landtag [... politische Entwicklung ... Berlin startete in "a very lively artistic season" ... Komödien, Tragödien, Konzerte ...]. To Arthur Nikisch belongs, more than any one else, the credit of championing a composer of the greatest talent, and one who even came very near being a genius, although he stopped well on the safe side. Reference is made to the Viennese, Anton Bruckner, who died two years ago in Vienna, and who was popularly supposed to be, in a greater degree than even Brahms, the successor of Mozart and Beethoven in the realm of symphonic composition. What prevented his really becoming what a certain number of his followers claimed he was, namely, the grosser Symphoniker, was a lack of the necessary artistic intelligence. Learning he had, and a superabundance of musical ideas, but that subtle artistic tact which enables the great artist to build his edifice, be it a cathedral, a landscape, or a musical composition in form, he lacked. He had not the vital gift of making everything melodious as Mendelssohn had, but he erred in the other direction, so that much of his purely contrapuntal work, like the Durchführung (working out) of many of his movements, is dry. Nevertheless, the Germans did well to honor him, for, Brahms being a Hungarian [sic], he was certainly the greatest German symphonic writer at the time of his death.
     Personally, he must have been a curious old chap, from the anecdotes of him related by Arthur Nikisch, Emil Paur, and Eugene Gruenberg, all of whom were more or less intimately acquainted with him. He spoke the broadest kind of Viennese, and cared little for the proprieties of life. During his last years a young musical author af Vienna was commissioned to write Bruckner's biography, and came to the conclusion that he could commence his studies in no better way than by becoming the great man's Boswell, which he did to the great amusement of Bruckner himself, and when the two were seated together in some public house and other friends and acquaintances would make their appearance he would always introduce the young man, saying, "That is my biographer. He is a very nice young man." Whenever he would say something which he thought witty, he would turn to the youngster and remarks, "That's good. Have you got that down?"
     It will be remembered that Bruckner's popularity with programme makers as well as with the musical world dates from the first performance of his seventh symphony. In the last Philharmonic concert, Mr. Nikisch performed Bruckner's fifth symphony in B major, which, although it contains much that is interesting, and even great, is nevertheless a somewhat dry work of art. It is labored, too, in many parts, and one gets the impression that all these lightning changes of key are really meant to hide momentary stoppages in the flow of the inspiration. In no way can this work be compared with the symphony in E flat major or with his "Te Deum." In the same evening Mr. Nikisch also gave Mendelssohn's Scotch symphony, which was played in a masterly manner, barring a slight uncertainty on the part of the horns.
     Berlin has been eating less meat during the past twelvemonth than in previous years, for last year every Berliner ate about  170 pounds of meat, whereas this year he has consumed only about 165. [... über die Hintergünde der Änderung des Fleischkonsums ... Bismarcks Beerdigung ... ]. EDWARD BRECK." (***).