In der Zeitschrift "Die Zeit" Nr. 335 erscheint auf S. 141f eine mit "Th. P." signierte Kritik zur 5. Symphonie [24.2.1901] (***).

 

Besprechung der gestrigen Generalprobe in The Chicago Tribune Nr. 61 auf S. 16:
"       MUSIC AND THE DRAMA.
Chicago Orchestra Concert.
     The public rehearsal of the Chicago Orchestra in the Auditorium yesterday afternoon was the occasion of the first performance here of the D minor symphony of Anton Bruckner; its first American performance it is believed was in New York under Damrosch's direction in the season of 1885-'86.
     The works of Bruckner are as yet an unplaced quantity in musical literature–their admirers declare them masterpieces, their critics denounce them as worthless. Time may bring a juster appreciation of their values, and then their ranking and classification will be possible, but even when that day arrives, one doubts if the decision will be that the Bruckner symphonies are great as symphonies. For, in truth, the term is a misnomer as applied to them–rhapsodical, spasmodic, disjounted–there is in them nothing of the formal logical development of musical mood or matter which is an essential element of the symphony as it is considered today. The work yesterday was the fifth of the Bruckner symphonies one had heard, and the characteristics of this one proved to be the same as were those of the four previously listened to. Orchestral skill Bruckner undeniably possessed–a sense for richness and beauty of tonal coloring being his–such as no one but Wagner had in superior degree; contrapuntal cleverness, too, he could claim, and much of admirable power in thematic invention, and yet he was no symphonist. Logic is what was lacking in his makeup, and therefore it is that his symphonies are a succession of disconnected, unrelated bits, instead of musical units. He would find a beautiful theme, announce it with ravishing tonal loveliness, come to an impressive pause–and the next musical thought he uttered had absolutely nothing to do with what had just been heard.

     It is believed that had Bruckner turned his abilities to opera instead of to the smyphony [sic] he would have achieved much of real worth. His music is unmistakably operatic–one has the impression while listening to his symphonies that there must have been woords to that music in its original form. It is not knowing these words–groping in the dark as it were–that irritates and annoys the listener.
     Of the D minor symphony the scherzo is the best movement, its middle part comes dangerously near the musically common, but there is about the movement as a whole a brightness and grace, and above all, a unity that are agreeable and attractive.
     Following the Bruckner symphony came Liszt's A major concerto [... Godowsky ... Schubert, Wagner ...] completed the program. The usual repetition concert takes place tonight at the Auditorium." [keine Signatur] (°).

 

Im Inserat auf Seite 5 sucht man Bruckner vergebens:
"     THE AUDITORIUM.

   Tickets [...]." (°a).

 

Deutlich kürzer schreibt The Inter Ocean Nr. 343 auf S. 5 in der 6. Spalte:
"     CHICAGO ORCHESTRA PLAYS.
[... Godowsky mit Liszt ...].
     The orchestral novelty was the D minor symphony No. 3, by Anton Bruckner, a composer seldom represented in the programmes. The composition has strong individuality, although impressive for the Schubert symphonic style, and the Bruckner appreciation of Wagner is in evidence in at least one of the four movements. The first two movements did not appear quite clear as played yesterday. The scherzo and finale were in a spirited style and included in the third movement was a fragnant Viennese waltz bit. The contrasting conclusion was hymnal and altogether impressive. Mr. Thomas' arrangement of the "Tannhauser" music, Schubert's D minor string quartet, made up the programme." [keine Signatur] (°°).

 

Außerdem erklingen das A-Dur-Klavierkonzert von Liszt mit dem Solisten Leopold Godowski, der Variationensatz aus Schuberts "Der Tod und das Mädchen" für Streichorchester und Auszüge aus Tannhäuser (°°°).