The Boston Globe Nr. 43 bespricht auf S. 9 das gestrige Konzert mit der 7. Symphonie:

"             CHARMED BY SINFONIETTA

                                   [...]

      Bruckner's 7th Symphony Is Also Repeated.

     After sitting through an hour of Bruckner's seventh symphony in E major yesterday afternoon Mr Chadwick's Sinfonietta in D major, heard for the first time at these concerts, was all the more welcome. [... lobende Besprechung dieses Werkes ... die Themen in der Reprise] without being hounded to death on the way, as were innocent, well-meaning fragments of melody in the Bruckner work. The second movement [...].

     The precision and brilliance of the bowing at Mr Fiedler's lively pace were admirable. The finale retains the animation of the work and runs nimbly to the close.

                             –––   

Refreshing After Bruckner.

     The sinfonietta came as an exhilarating breeze on a summer's day bringing hope and refreshment. Both were needed. If Bruckner's symphony could be limited to the first movement, allegro, and the second movement, adagio, much valuable time and much wearying noise might be saved.

     The scherzo is so liberally weighted down with bombastic twaddle that what there is of beauty hides its face. Where is more senseless fustian than the trumpet theme, revived and reechoed to the apotheosis of boredom?

     A man who had few friends and cared for few, who traveled little, who built his world of solitude and introspection might indeed have written such music. It knows neither the gladness of children nor of nature. It has long forgotten, if it ever knew, that play is the eternal secret of life. It smells of the must of Faust's study and by so much is it pitiable rather than bad. The last movement is sterile and tedious and often condemns the brass to hard manual labor in coping with fortissimos that blare forth neither dignity, euphony nor any illuminating idea.

     How the first two movements could have been written by the same man remains a mystery. At times in the unfolding of a thought through modulation the opening allegro reminds of Wagner, whose ardent disciple and champion Bruckner was.

                             –––

     The themes here have agreeable individuality and often beauty. Their development shows the fondness of the composer for inversion, and his skill in thus turning a melody upside down. The first and the second chief themes are reiterated again and again after this fashion in varying orchestral color.

     The adagio is heralded by Buckner's [sic] partisans as his most superb utterance. It contains a second theme of unquestioned loveliness and apparent inspiration. The first theme, intrusted to four tubas–according to the score, two in B flat and two in F–has a serious and exalted beauty.

     Why the composer chose a brass instrument with upright bell, whose tone contains unavoidable blare and is incompatible with the strings of an orchestra, is hard to say. The more romantic and no less dignified tone-color of the french horn would have been a beautiful medium.

     Dissonances in the symphony have before been complained of, and with reason. They do not sting the senses into a suuden golw. They tire the mind by aimless wrangling. Dissonance is not mere confusion." [keine Signatur] (*).

[Ziemlich sicher]

Aufführung der 7. Symphonie durch das Boston Symphony Orchestra unter Max Fiedler in Boston. Außerdem wird eine Sinfonietta von Chardick aufgeführt [Voraufführung am 11.2.1910] (**).