[Vielleicht identisch mit der Aufführung beim 40. Stiftungsfest des niederösterreichischen Sängerbundes, bei der der Wiener Akademische Gesangverein das Solo sang (*a)].

 

The Boston Globe Nr. 136 kündigt auf S. 54 in der 7. Spalte die 9. Symphonie für das Regensburger Musikfest [22.5.1904] an:

"     The second Bavarian music festival will take place at Ratisbon, under the direction of Richard Strauss, during Whitsuntide. The programms: First day, Bruckner's ninth symphony and "Te Deum," and Beethoven's "Eroica"; second day, Liszt's "Graner" Mass; prelude and "Liebestod" from "Tristan und Isolde" and the "Tod und Verklarung" of Richard Strauss." (**).

 

Auch The Saint Paul Globe (Saint Paul, Minnesota) bringt auf S. 20 eine Ankündigung:
"     The second Bavarian music festival will be given at Regensburg May 22 to 24, under Richard Strauss' direction. There will be no novelties. Standard works by Beethoven, Wagner, Bruckner, Liszt, Strauss, Brahms and Mozart comprise the programmes. The orchestra will be the Royal Opera Orchestra of Munich." (***).

 

Von der Aufführung der 9. Symphonie am 14.5.1904 berichtet The Cincinnati Enquirer Nr. 136 auf S. 3:

"                             FANFARE

Thousands Greet the Veteran Conductor With Bravos, [...]

     With the exultant Hymn of Joy in the finale of Beethoven's Immortal Ninth Symphony the diapason of the sixteenth May Festival was sounded last night. [... über Theodor Thomas ...].

     The two concerts yesterday were the best attended matinee and night performances of the entire series. Schumann-Heink, in all her glory, and Muriel Foster, in all her sweetness and beauty, were the afternoon attractions. [... abends Beethoven ...].

     [... finanzielles Ergebnis ... Abendkonzerte mit 2506, 3602 bzw. 3700 zahlenden Besuchern, die Matineen mit 2497 bzw. (14.5.) 2519 Besuchern ... über die Zuhörerschaft, ihre Begeisterung und den gesellschaftlichen Glanz ...].

     Those who remembered the classic, breezy programs of light caliber, with a Strauss waltz thrown in, that Theodore Thomas in former years gave at the Festival matinees, must have been surprised at the remarkable change emphasized at the present Festival in that direction. Both afternoon programs, while they were intensely interesting, were of a decidedly heavy and severe character. Yesterday there was nothing to relieve this burden in the orchestral numbers, save, perhaps, the Rondo, "Till Eulenspiegel's Pranks," by Richard Strauss, [... und Tschaikowskys "1812" ...].

     Such as it was the entire program was almost exclusively made up of first-time numbers. Much interest was attached to the first hearing of Bruckner's unfinished Symphony No. 9, D-minor, the last work of the late Viennese composer before his death. It may be safely said that if it is a swan song it is not like that of great composers, whose last flight soars the highest. The first and last movements of the thre [sic] are an unmitigated, inexcusable bore. Aside from its tedious length the first movement, by reason of its uninteresting character, would either put one to sleep or tease one to exasperation. The themes are all worked out in masterly style; the contrapuntal knowledge of the composer is apparent, and the Wagnerian massiveness leaves no doubt of his modern allegiance and instrumental ingenuity, but all this cleverness of treatment lacks cohesive force and unity of purpose. Bruckner has no clear message to tell, and all his technical skill cannot put together a tone image that would be enjoyable and mean something. The first and last movements are largely an empty pomposity of sound, with a few happily conceived thoughts that know no destiny. The wonder is that with all the top-heaviness of the first movement Bruckner should have dispensed with the free fantasia working out of the themes, as though he wished to make the whole construction as stiff und rigid as possible. The scherzo, which is the second movement, is delightfully clear and intelligible. The working out is exceedingly felicitous and original.

     In the reading of this symphony the Festival orchestra did itself proud, and the Scherzo was given with exquisite daintiness. The vorspiel to "Meistersinger" [... die anderen Werke ... die Solistinnen ...]. LAST CONCERT Closed With a Great Triumph For All Participants. [... Beethovens Missa solemnis und 9. Sinfonie ...].

[... abschließendes Supper zu Ehren von Theodor Thomas und der Solisten (anwesend u.a. Mr. Maxwell, der Prinz [?] und Ehepaar Wiborg) ...]." [keine Signatur] (°).

 

The New York Times Nr. 16961 kündigt auf S. 13 das Salzburger Mozartfest mit der 4. Symphonie am 13.8.1904 an:
"                       MUSICAL NOTES.

[...]
     A Mozart musical festival will be given in Salzburg, the composers's birthplace, [...]. An announcement just at hand gives the programme, which is as follows: On Aug. 12 the C minor mass, on Aug. 13 the overture and Act II. of "Die Entführung aus dem Serail," a violin concerto, and Bruckner's fourth symphony; on Aug. 14 Mozart's G minor string quartet [sic], [... andere Werke ...]. Among the participants in this festival the programme mentions the Philharmonic Society of Vienna, under the direction of Von Schuch of Dresden; Mmes. Lilli Lehmann, Erika Wedekind, and Edyth Walker; Messrs. Burrian Mayr and Egenieff, Eugene Ysaye, Eugen D'Albert, the Fitzner String Quartet, and the Prill String Quartet of Vienna." (°°).