Unmittelbar danach berichtet "Dr. W. O." vom Autorenabend von Mathilde und Richard Kralik am 7.3.1906, wo mehrere Lieder unter großem Beifall aufgeführt wurden [Bruckner wird in der Kritik nicht erwähnt] (**).

 

Besprechung des Konzerts vom 9.3.1906 mit der 7. Symphonie im Grazer Tagblatt Nr. 68 auf S. 3, signiert "-ald-":

"Viertes Orchester Konzert des Steiermärkischen Musikvereines.

     Die Vortragsordnung dieses Konzertes enthielt nur zwei Nummern. Je weniger sie aber mit der Zahl der Werke prunkte, desto bedeutsamer war deren Wert. Es waren zwei Symphonien: die siebente in E-dur von Anton Bruckner und die achte in F-dur von Beethoven. [...]

     Gerade die unmittelbare Folge eines Beethoven auf einen Bruckner zeigte uns gestern wieder den hohen Wert der »geschlossenen Form«. Um wie viel leichter würden wir Bruckner verstehen, um wie viel inniger würden wir ihn lieben, wenn er die erprobte Form nicht nur in der Einteilung und Folge der vier Sätze, sondern auch in der ebenmäßigen Gliederung eines jeden einzelnen Satzes eingehalten hätte! Auch hier zeigt sich in der Beschränkung der Meister: Und wer hätte diese Beschränkung weniger zu scheuen gebraucht, als Bruckner? Blicken wir nun auf die vier Musikvereins-Konzerte zurück, so können wir mit aufrichtiger Freude feststellen, daß sie uns sehr viel des Schönen gebracht haben, und daß sie des Rufes einer so angesehenen Anstalt, wie der Steiermärkische Musikverein es ist, würdig waren.     -ald- " (***).

 

Aufführung der 7. Symphonie durch das Chicago Symphony Orchestra unter Frederick Stock [in Chicago] [Wiederholung des Konzerts vom 9.3.1906] (°).

Es erklingen außerdem Werke von Richard Strauss und Hugo Wolf, gesungen von George Hamlin, und Richard Wagner (aus "Tristan") (°a).

 

Besprechung des gestrigen Konzerts in The Chicago Tribune Nr. 60 auf S. 8:

"              NEWS OF THE THEATER.

     Mr. Stock gave us Bruckner yesterday for the first time since he assumed directorship of the Thomas orchestra. He succeeded well–as well as any one can with Bruckner. But the mistake he made was one which has its origin in a lack of courage.

     His greatest deed should have been performed before the rehearsing of the symphony was begun. But for the doing of this deed he evidently was not sufficiently brave. The shortcoming casts no great reflection on him, it is true, for it proves him to be but as are the majority of the orchestral conductors of the world. They, too, lack much courage, but it was hoped that he would show himself one of the more progressive and do for the seventh symphony of Bruckner what should be done for it and all its fellows if they are to be made effective in the concert room and acceptable to the public. They should be shortened. Mahler and Weingartner have been frank enough and bold enough to condense the Bruckner scores and by thus freeing the works of the musically barren or musically tedious spots which they contain have performed a service to the public and to the composer.

     Bruckner was a writer of undeniably great gifts, but his music is diffuse, unduly long, and in certain places obviously "made." Utterances of the greatest beauty and import will be followed by commonplaces and worse, and the impressive message which ever seems just ready to be delivered is delayed or wholly prevented by a sudden switch into something which appears totally foreign to what has gone before or distinctly inferior to it. By judicious and skillful cutting these weak spots in the scores can be eliminated, the works lent conciseness, and their beauties made evident to those who listen. The performance gains immensely in effectiveness and Bruckner's standing as a composer is appreciable enhanced in the public mind. Mahler, Weingartner, and certain other leaders have realized this fact and have adopted the plan of cutting the Bruckner symphonies before performing them.

     Mr. Stock cannot do better than to follow the lead of his progressive colleagues. That is, if he purposes the giving of much Bruckner at the Thomas orchestra concerts. Of course, if he offers a symphony only about once in every two years, as Mr. Thomas did, he propably may as well humor the Brucknerites and give the works "complete." The general public will endure just as it has every time one of the symphonies has been played in the past, and the worshipers of the "master" to whom the suggestion of omitting a single note will be regarded as sacrilege and blasphemy, will be happy. But Bruckner is worth the making known, and in order to accomplish this the symphonies should be condensed as Mr. Stock, with his excellent taste and his extensive knowledge, will understand how to condense them. They can be made to appeal in no inconsiderable measure to the public if they are shortened, and to achieve this Mr. Stock should take his blue pencil in his hand, screw up his courage, and "edit" the seventh symphony and present it again next season. He will be doing Bruckner a service, and certainly can count on the approval of the major portion of his audience.

     The Bruckner symphony played yesterday is the most attractive of its nine fellows and barring its undue length and its thin spots contains much of beauty and interest. The Adagio is a movement of exceptional nobility and impressiveness and needs but a slight condensing to be a masterpiece. The Scherzo, too, possesses undeniable charm and could be made unusually attractive. The whole work is one which speaks of the high gifts of Bruckner, and the orchestra gave a performance which calls for naught save unqualified commendation.

     The second half of the program proved delightful. [... Richard Strauss, Hugo Wolf, Richard Wagner (aus "Tristan" ...]. A more beautiful performance, tonally, technically, and spiritually of this intensely passionate music has not been heard here.

                                              W. L. HUBBARD." (°b).

 

Auch The Inter Ocean Nr. 351 (Chicago, Illinois) bringt auf S. 6 einen Bericht:

"Thomas Orchestra Publicly Rehearses a Delightful Program
     This week's program of the Thomas orchestra is in many ways the most interesting that Mr. Stock has yet arranged. [... fast nur Novitäten ...], aside from their novelty, the compositions performed are every one beautiful, grateful, and strikingly characteristic of the masters they represent. To these virtues of novelty and beauty is to be added the most vital factor of all in kindling the interest and enthusiasm of an audience, namely, great vigor, spirit, and at times a truly inspiring temperamental warmth on the part of the conductor and the orchestra. The result at the public rehearsal in Orchestra hall yesterday was an afternoon of rarely complete artistic enjoyment.
     Bruckner is a composer who has thus far not found favor with Chicago audiences. He was last represented on the programs of the Thomas orchestra by his ninth symphony, a work of such inordinate length and such profound seriousness that his name has ever since called up memories of tedium unparalleled in the annals of the concert hall. But in his seventh symphony, heard yesterday afternoon for the first time, one learned to know a kindlier side of his art. But it cannot be said that one came any nearer to a knowledge of Bruckner's musical personality. All of us would recognize Wagner or Beethoven, Brahms or Schumann, even in an unknown work. But I am persuaded that few would similarly recognize the stamp of Bruckner's individuality. Unquestionably he has originality. But it is not at once to be perceived, much less put into words.

     It is, however, quite easy to find in his work a number of worthy qualities. The spirit of the German romantic school predominates in this symphony, It has much of the melodic fluency of Schubert, the nobility of Beethoven, the sonority of Wagner. It displays further a highly developed technic in the manipulation of the grateful thematic content, and likewise in the treatment of the orchestra. But it leaves the hearer still groping vainly after the illusive personality of the composer.

     The lyric mood of the allegro and the serene and almost majestic beauty of the adagio bring one closest to him, only to be repelled and confused by the contradictions of a technically brilliant and musically barren scherzo, a contrast so glaring that it is in no way mitigated by the more graceful melodic content of the finale.

     [... über Richard Strauss, Hugo Wolf, Wagner ...].

     The program will be repeated tonight at 8:15 o'clock.

[... kurzer Hinweis auf weitere Konzerte ...]

                                              GLENN DILLARD GUNN." (°c).

 

Aufführung der 4. Symphonie unter Van der Stucken in Cincinnati. Auf dem Programm stehen außerdem Werke von Schytte (Klavierkonzert mit Hans Richard), Humperdinck (Ouvertüre zu "Hänsel und Gretel"), Sibelius (Der Schwan von Tuonela) und Liszt (Les Preludes) [Wiederholung des Konzerts vom 9.3.1906] (°°).