The Boston Globe Nr. 115 bringt auf S. 43 einen Bericht vom Konzert vom 23./24.4.1909, in dem nochmals die 8. Symphonie besprochen wird (erstmals am 14.3.1909, in derselben Zeitung):

"MUSIC AND MUSICIANS

[...]

     Twice this month a Symphony program has been introduced by an appropriate selection in memory of the dead. Some two weeks ago Mr B. J. Lang's death was so recognized, and at the concerts last week a similar tribute was paid to the late assistant manager of the orchestra, Mr F. R. Comee, by an impressive performance of the funeral march from Beethoven's "Eroica" symphony. The other selections were the "request" repetition of Bruckner's eighth symphony, which was first played six weeks ago, and "A Siegfried Idyl," [sic] which lost some of its effectiveness by following the turbulent symphony, for Wagner was in a gentle mood when he composed the idyl.

     Bruckner's colossal symphony is notable for its almost innumerable developments of themes in each one of the four movements. And in each is there storm and stress in orchestration, as if the eccentric composer had wrought in forms more or less musical the vivid contrasts in his own life. Melody that seemingly promises something pleasing to the ear is abruptly shunted here and there and becomes lost in the labyrinth of counter themes that interrupt the flow of harmony. And generally the brass choir has a chance in fortissimo to help out in passage work.

     The second movement is less fragmentary than the preceding one and has a sort of rhythmic swing in portions that gives relief to the suggestion of the ponderous, which runs through most of the work. A mysterious figuration given the violins makes a line contrast to the stolid humor of the heavier strings; but this is transitory, for the horns, trumpets and other heavy-weights take up the theme and work it out strenuously. Later there is a bit of beautiful, warm harmony calling for horn and harp, though the juggling in tonality cuts short its serene progress. The movement, like the first, closes with a dreamy pianissimo measure [siehe die Anmerkung].

     The adagio, which is unnusually long, is a wonderful exposition of contrasting moods divided, at first, among the violins, the woodwínds and organ [sic] and lighter strings. A charming second theme is heard in the 'cellos' and after an elobarate and complex working out of old and new material, especially in the brass contitngent [sic], there comes a quiet finale of a peculiar nature given out by the tubas.

     The closing movement is massive, perhaps noisy, in the main, as if there was a conflict of all the thematic material, and all the instruments were enlisted at times in powerful opposition. As an illustration of skill in orchestration, this finale is even more pronounced than in th ethied movement, and it almost defies analysis. All in all, there is no question about the magnitude of the work, and the interpretation was masterly, even better than at the previous concerts. There was mild appreciation expressed at the close of the performance.

    The program, which opened with a tribute to the dead, closed with Wagner's joyous idyl in honor of the birth of his son, Siegfried. [... nächstes Konzert: Mozarts D-Dur-Symphonie und Beethovens Neunte ...]." [keine Signatur]