"[...] Auch mit seinen Überzeugungen, insbesondere Wagner gegenüber, war er zurückhaltend. Ich habe ihn stets nur mit Hochachtung von Wagner sprechen gehört [sic]. Auch Bruckner gegenüber hat er seine Wertschätzung bei verschiedenen Gelegenheiten an den Tag gelegt. Keiner war weniger als er zum Parteimanne geschaffen. Erscheint er unserer Zeit als solcher, so mögen dies seine "Freunde" verantworten. Ihn von diesem Odium zu reinigen, wäre ihre nächste Aufgabe, wenn sie seine Persönlichkeit nicht ihrer Tendenz opfern wollen." (*).

 

 

The Manchester Guardian Nr. 17843 bespricht auf S. 17 die Konzerte vom 16.10.1903:
"    BIRMINGHAM MUSICAL FESTIVAL
(FROM OUR SPECIAL CORRESPONDENT.)
                                  BIRMINGHAM, FRIDAY.
     At all such Festivals the choir is the centre of interest, and the performance of the Bach Mass to-day has been generally regarded as the principal test of this year's Birmingham choir. [... der Hallé-Chormeister R. H. Wilson ... über die h-Moll-Messe ... Solisten ...]. The voices of Miss Nicholls and Miss Foster made a perfect blend in the duets for soprano and alto, or first and second soprano, and Messrs. Ben Davies and Ffrangeon Davies sang with fine discretion in their respective parts of tenor and bass solosist. [... die Instrumentalsolisten ... Geschenk für Wilson ...].
                                                     LATER.
It is tolerably certain that no Festival choir ever had a harder day's work than has just come to an end. Not only had they to sing the great Bach Mass in the morning and Beethoven's Choral Symphony in the evening, but between the two was placed Bruckner's "Te Deum," which proved to be a massive composition, abounding in very high notes, such as B flat and C, and otherwise trying to the singer. The choir came through the severe ordeal with great credit. In the concluding sections of the gigantic Symphony their voices rang clear on the high notes and showed no traces of fatigue. The quartet in the Symphony consisted of Miss Nicholls, Miss Foster, and Messrs. William Green and Andrew Black, whose voices blended admirably.  It may be doubted whether there is any better leader of these extremely trying quartets alive at the present time. The instrumental formed a worthy crown to the symphonic part of this Festival, which has been worthy of the Birmingham tradition. The Bruckner "Te Deum,"performed this evening for the first time in England, is a striking example of the late gifted and eccentric Viennese musician. It is adamantine and very broad in conception, as though intended for some great national occasion. The noisy character of the orchestration usually gives occasion to sarcastic comment, but the composition is not wanting in power and eloquence. To the orthodox combination of quartet, chorus, and orchestra the organ is added, chiefly for the sake of some tremendous pedal effects.
     An excellent rendering was given of the Brahms Rhapsody for contralto solo and male voice chorus, with Miss Foster as soloist. [... Dvorak, Hans Richter, zum Abschluss "God Save the King" ...] which in Birmingham is still sung according to Costa's version, in memory of his long association with the Festival." [keine Signatur] (**).

 

Von diesem Festival berichtet auch eine kanadische Zeitung, The Ottawa Evening Journal Nr. 256 auf S. 9 (Ottawa, Ontario, Canada):
"     In Music's Sphere | By J. Angus Winter
[...]
CELEBRATED FESTIVAL.
     An idea of the magnitude of the celebrated Birmingham (Eng.) musical festival held this week may be obtained from the following programme of works announced for performance: [... Dienstag, Mittwoch, Donnerstag ...].

     Friday morning, Bach's Mass in B Minor.
     Friday evening, Bruckner's Te Deum; Dvorak's Symphonic Variations; Brahms's Alto Rhapsodie; Beethoven's Choral Symphony.
     The conductor was Dr. Hans Richter and the soloists represented the foremost oratorio singers of Great Britain." (***).