(**) Ankündigung New York
(***) Ankündigung New York

The Boston Globe Nr. 73 bespricht auf S. 45 das Konzert vom 13.3.1909 mit der 8. Symphonie:

"                    MUSIC AND MUSICIANS

Bruckner's Great Work Feature of an Exacting Program.

[...]

     Yesterday's offerings of the Boston Symphony orchestra were a first-time-in-America symphony, Bruckner's No. 8, a first-time-in-Boston concerto for violoncello by Herrmann Graedener, [... Solist Heinrich Warnke, Beethovens "Prometheus"-Ouvertüre ...].

     Altogether it made a trying afternoon. The great Bruckner work is by no means easy to listen to, and only its last two movements–for many a hearer only the last of all–were especially  moving. Bruckner himself furnished no program with his symphony; one of his admirers furnished a program which takes in Prometheus, the German peasant, the meeting of three emperors and a description of the mercy of God. It is better to listen to the music itself without trying to find a story in it.

     The work is, of course, massive, but it is massive like a business building, not like a mountain; it impresses one, but does not move the emptions. It is in four movements, allegro, moderato, scherzo, adagio, and that movement was the longest symphonic adagio in existence, it lasted about 20 minutes–and a finale, which is the most exalted movement of the four. Bruckner, having seized upon an idea, seems to have tossed in back and forth; sometimes it was beautiful, sometimes a stodgy notion, but over and over he repeats it; development is the addition of brass, in the same phrase–and after all this preparation what? Nothing. A new idea, tossed about like the one preceding. Some of them rose to great climaxes, some died in astonishingly simple resolutions.

     In the second movement, following the rough humor of the first theme and its development, came a passage–andante–of great beauty, and continuing interest; it suggested a warmth and richness that promised to come to something–but is was dropped like the others, and in a moment we were dancing over the pavements again in wooden shoon.

     The adagio showed the organist; there was a breadth and nobility of scoring, a use of the brass choir that is inspiring, and just the color of organ music cut across in harsher stops; it is a movement which needs hearing twice or thrice to know.

     Bruckner was not one of the foggy moderns, never resolving, but he indicated what was coming. Hearing his eighth symphony one anderstands the storm that raged about him in his lifetime.

     The Graedener concerto [... Solist Warnke ...]. The work was interesting.     After these two numbers it was refreshing to come out into the foursquare, open chord and passages of the Beethoven overture. [...].

     There will be no symphony concert this week." [keine Signatur] (*).

(**) Ankündigung New York

Zum Konzert am 18.3.1909 schreibt The New York Times Nr. 18677 auf S. 57 (= S. 7 des 6. Teils):

"                          BOSTON SYMPHONY.

     The last concerts of the Boston Symphony Orchestra will be given in Carnegie Hall on Thuesday evening, March 18, and Saturday afternoon, March 20. Two novelties will be found on the Thursday evening programme–Bruckner's Symphony in C minor No. 8, which had its first performances in America in Boston on Friday, March 12, and Saturday, March 13, and Scheinpflug's overture to "A Comedy by Shakespeare."

     Mr. Fiedler is as ardent a believer in the genius of Anton Bruckner as are Dr. Muck, Arthur Nikisch, and Felix Weingartner, and he is as thoroughly a believer as they that the time is not far distant when the real magnitude of this strange genius will be recognized by the public at large. The eighth symphony, curiously enough, had never been played in America until Mr. Fiedler preformed it in Boston the other day, and he is of the opinion that it is the greatest of the nine. He regards the Adagio as being the most beautiful slow movement in the whole literature of music. The symphony is long, requiring about an hour for performance.

     Scheinpflug, who will be represented by an overture [... kurz über dieses Werk und zu den weiteren Werken ... Samstagsprogramm ...]." (**).

Auf Seite 59 (= S. 9 dieses Teils) folgt noch ein Inserat:

(***) Ankündigung New York

Auch die New York Tribune Nr. 22764 weist auf S. 48 (= S. 3 des 4. Teils) mit einem Inserat auf das Konzert hin:

"        CARNEGIE HALL.

            Max Fiedler

              Conductor.

Thurs. Evg., Mar. 18, at 8:15.

            PROGRAM:

BRUCKNER, Symphony in C minor, No. 8 (first time in N.Y.); SCHEINPFLUG [... Debussy, Richard Wagner ... Samstagsprogramm ...]." (***).

Auch The Sun Nr. 195 (New York) kündigt auf S. 35 (= S. 7 des 3. Teils) dieses Konzert an:

"     [... Gustav Mahler wird für die zwei nächsten Konzerte in der Carnegie Hall (überwiegend Beethoven) das Orchester auf 100 Musiker aufstocken ...].

     The last concerts of the Boston Symphony Orchestra will be given in Carnegie Hall on Thursday evening at 8:15 and Saturday afternoon at 2:30. Two novelties will be found on the Thursday evening programme–Bruckner's Symphony in C minor, No. 8, which had its first performance in America in Boston on Friday and Saturday, and Scheinpflug's overture to "A Comedy by Shakespeare." The other numbers [...]." (°).

Das Inserat auf Seite 36 (= S. 8 dieses Teils) ist identisch mit dem in der New York Times (°a).

(°°) Emil Paur

Im Zusammenhang mit Emil Paur wird Bruckner in The Buffalo Courier auf S. 54 erwähnt:

"     Emil Paur, the conductor of the Pittsburgh Orchestra, is an eminent musician who has reached a high pinnacle in the musical world. Mr. Paur is 50 years old, and was born at Czernoviyz [sic], Austria. He entered the Vienna Conservatory of Music when a young man and there became a pupil of Hellmsberger [sic], Dessoff and Anton Bruckner. After several years as a member of the Imperial Opera House Orchestra at Vienna, he went to Berlin to conduct an orchestra. [... weitere Stationen ...]." (°°).