Besprechung des Konzerts vom 2.4.1904 mit der 9. Symphonie in der Boston Post auf S. 10:

"                    AT THE SYMPHONY
Muriel Foster Was the Soloist, and the Programme Included Orchestral Numbers by Mendelssohn, Bruckner and Beethoven
     The programme of the 20th Symphony concert last evening included the following numbers:
Overture. "Melusina" . . . . . . .  . . .  Mendelssohn
Aria from "Orpheus" . . . . . . . . . . .   Gluck
Symphony No. 9 (unfinished)  . . . .  Bruckner
Songs with pianoforte.
Overture. "Lenore" [sic] No. 2 . . . . Beethoven
     Unfortunately the programme proved one of the dullest of any this season, although an important symphony was heard for the first time. Bruckner's ninth, like one of Schubert's, is "unfinished," but there the comparison ends. It received its first American performance at Chicago under Theodore Thomas about five weeks ago.
     The two overtures are well known and require no extended comment, further than to say that they were well played.
     Miss Muriel Foster, the Englich contralto, made her first appearance at these concerts. [... temperamentlos ... die Dvorak-, Rachmaninoff- und Strauss-Lieder besser als Gluck (Klavier: Miss Eadie) ... unverständlich sei, dass sie als größte Oratoriensängerin Englands gelte ...]." [keine Signatur] (*).

 

Dieses Konzert wird auch in The Boston Globe Nr. 94 auf S. 45 besprochen:
"                      SYMPHONY CONCERTS.
     The program for the 20th Symphony rehearsal and concert contained one novelty, Bruckner's unfinished ninth symphony. The other orchestral selections were [... Mendelssohn, Beethoven ... Muriel Foster (ein Lied war vor einer Woche von Frau Strauss hier gesungen worden) ...]. Bruckner's unfinished symphony has three movements, yet in its incomplete form one may form a pretty clear idea of what the final part would have been had the composer lived to finish the work. Orchestrally it is massive, chaotic, very puzzling and not interesting except as an instrumental curiosity which evidently voices the not wholly sane ideas of a disappointed man whose misfortunes embittered his life. It is full of high colors, musical splashes in a tone picture, dissonants and croll measures run riot and the whole affair conveys no particular meaning to the ears of the listener. It is immensely difficult, especially for the violin contingent, but aside from being a novelty calls for no special consideration. The audience received the work very coldly.
     The orchestra played the piece with the effect probably intended by Mr Gericke. [... kurz zu den anderen Werken ... das nächste Programm ...]." [keine Signatur] (**).

 

The Buffalo Courier Nr. 94 erwähnt auf S. 36 Bruckner als Lehrer von Emil Paur:
"     The Orchestra Committee of the Pittsburg Art Society at a meeting held Saturday, March 26, 1904, Elected Emil Paur, conductor of the Pittsburg Orchestra for three years, beginning with the season of 1904-1905. [... Lebenslauf ...]. He came to the Vienna Conservatoire of Music when a young man, where he was a pupil of Helmesberger, Dessorff [sic] and Anton Bruckner. [... berufliche Stationen (Mannheim, Leipzig, Boston, New York ... 1902 Tod der Ehefrau, wegen der Kinder nach Deutschland ...]." (***).