The Observer Nr. 6155 (London) berichtet auf S. 7 vom gestrigen Konzert mit der 2. Symphonie:

"                         MUSIC.

     Max Reger, who visits London this week, [... über dessen Konzerte ...].

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     Should you ever be invited to give a concrete example of the maleficent effects of measured-out form on a composer who was capable of a really fine healthy musical thought unshackled, turn at once to a Bruckner symphony. The long work in C minor, an earlier performance of which in England even the programme annotator seems unable to recall, was well worthy of inclusion in the concert of the London Symphony Orchestra, under Mr. Nikisch, yesterday afternoon. Most people have forgotten the odd performances in London of the third and seventh symphonies given by Dr. Richter in 1891 and 1887. Brahms undoubtedly crowded Bruckner out; yet, to judge by the work played yesterday, on merit, there is little to choose, in symphonic work, between the composers. Judged as a natural fresh-air spirit, who happens to be diffuse from sheer bad habit, Bruckner is even preferable. With Brahms, Bruckner has his finest thing to say at the set-off of his symphonic diversions, but the younger composer always manages to disguise his framework more successfully, the orthodox development being treated with subtle resource–as a man might rob himself and pretend not to notice it. Bruckner is much more frank about the matter. He does not hesitate to pilfer his most pregnant phrases and convert them into restless sequences; and as sequences, once the delight of the learned musicians, represent musical thought run to seed, this predilection in Bruckner is peculiarly irritating.

     But, in considering the material itself, there is much in this composer that is of extreme interest, and even value. His opening subject, recollecting his period, is magnificent, and there are passages throughout the movement typical of a life and energy that is not to be despised. The Andante, very long-winded, but only owing to the exigencies of form, has some fine movements [sic]  The Scherzo is equal to any of Beethoven's, save, of course, the colossal movement in the Ninth–the last word of the form–although I do not think Beethoven would ever have penned the first eight bars of the Trio. These hold Viennese argot. The pizzicato opening of the Finale recalled immediately the street tune that Strauss's "Till Eulenspiegel" whistles as he turns away from his argument with the theologians, and the second subject is unquestionably a Ländler spread out in common time.

     It seems late in the day to trouble much about Bruckner, but that he was a commanding figure who never received the attention he deserved seems to be indisputable. However, the important lesson that he teaches, with Brahms, Mahler, Weingärtner[sic] and Elgar, if you like, is that the symphony, as an effective form of musical utterance, has completed its career. Since Beethoven, the use of the design has invariably placed a disastrous mortgage on inspiration.

     The balance of yesterday's concert included [... kurz erwähnt: Beethoven, Tschaikowsky, Liszt, Raff (mit B. Patterson Parker) ...]. Mr. Nikisch was in splendid form throughout, and drew in the "Egmont" overture an extraordinary tone from the strings." [keine Signatur]