The Manchester Guardian Nr. 19218 bespricht auf S. 7 das gestrige Konzert:

"                   THE HALLÉ CONCERTS.

                               PROGRAMME.

Te Deum . . . . . . . . . . . . . . . . . . . . . . .  .Bruckner

Motet–"The Spirit also helpeth us" . . . . . .   Bach

Choral Symphony No. 9  . . . . . . . . . .  Beethoven

     The great audience last night must have gone home delighted with the socond part of the concert rather than the other. They are indeed fortunate who hear the first three mobemants of the Choral Symphony under Dr. Richter, given by players who understand him so well and are so able to carry out his intentions as the present Hallé Orchestra. It is, however, most unfortunate when the music of a composer who is so little known to us as Bruckner is given so unsatisfactorily as his "Te Deum" was given last night, when all the performers seemed so capable of doing it perfectly. Let it be admitted that Bruckner is somewhat impracticable. Genius often ist, and yet we contrive somehow to get at its ideas. If, as ought to be imperative for the first performance of such a work, there had been any combined practice for soloist, chorus, and orchestra, its effect was not seen, a want of proper balance of tone being felt almost throughout. Owing partly to this fact and partly to the general lack of any intelligent grasp of the words, the effect was often unintelligible. Indulgence was asked for Mr. Webster Millar, who had a cold, but he did better than anyone. Miss Perceval Allen, who appeared here for the first time, proved herself before the evening was over to be an excellent singer. But in the "Te Deum" her expression was nit always suitable, and in "Te ergo quaesumus" she spoiled all the poetry of the beautiful cadences by a tinge of flatness. It was a small fault, but the fault of all others which would not do. Miss Edna Thornton and Mr. William Higley sang their parts in a less distinguished if less faulty manner. The chorus singing was not up to the standard for detailed criticism. An early and better performance of the work is now due to the composer.

     Bach's Motet     [...] was an excellent choice [... insufficient rehearsal? ...] this piece of great music was without interest.

     It is pleasant to turn to the Symphony. Dr. Richter let it be seen once again that he is greatest in the greatest  music. [... hohes Lob ...]. The quartet all did much better than in the "Te Deum." [...].

                                                     S. L."