Aufführung der 7. Symphonie durch das Concertgebouworchester unter Gustav Kogel in Amsterdam (**).

Besprechung der 4. Symphonie [Aufführung am 30.3.1910] in der The New York Times Nr. 19059 auf S. 11:
"            THE PHILHARMONIC CONCERT.
Music by Pfitzner, Bruckner, and Strauss at Last of Historical Series.
     The Philharmonic Society gave last evening the last concert of its historical series which, like several of the recent ones in this series, have been concerned wit hmodern [sic] composers a little out of chronological sequence. Thus, Bruckner was the central point of this concert [... Pfitzner ...].
     Bruckner's fourth symphony, called the "Romantic" symphony, had not been heard in New York for many years. Anton Seidl first played it here in 1888. Yet last night's performance showed it to be considerably more worth rehearing than the symphonies of Bruckner that have been played here in recent years. It is more interesting in its substance, more spontaneous, more concise, than those others. It has a more truly symphonic structure, and its themes are more significant and truly musical. There is less of the laborious and arduous work in development, dry elaboration in counterpoint, and other technical devices in which the composer so often loses himself. It is, in fact, a work that can be listened to with true pleasure, without weariness to the flesh.
     Some of the impression no doubt was due to the truly superb interpretation which the symphony received at the hands of Mr. Mahler–a performance that proclaimed even more unmistakably than they have been proclaimed before the mastery and authority of the conductor. It showed his insight and entire sympathy with Bruckner's music, of which he is a chief exponent, and, as well, the fine skill of the orchestra, which is steadily gaining for itself the right to be called a virtuoso organization. The freedom, breadth, and brilliancy of last night's performance, its many-sided eloquence, did much to carry conviction for the music. The exposition of the first movement is superb, with its themes of real beauty and expressiveness. The andante, like a solemn march, is also an interesting and in certain passages a noble and deeply touching movement, with a beautiful solo for the viola.
     The Scherzo is filled with the music, and the rhythms of hunting horns; and there are delightful effects of rhythm and of orchestral color. The finale is more commonplace, and shows Bruckner's weakest side, the lack of organic structure and logical development; a fondness for repeating in different keys and intervals the same phrase leading nowhere, of beloboring his material with fruitless toil. The instrumentation in this symphony is singularly fine, with effects that are new and striking. And yet it might easily be that this work, which seemed so interesting and that really touched and thrilled, as it was played last evening, might lose much of its effect in a performance less masterly than Mr. Mahler's.
     The music of Strauss that was played consisted of [... Guntram, Till Eulenspiegel ...]. The audience at this concert was deplorably small." [keine Signatur] (***).

Ein Bericht erscheint auch in The Sun Nr. 212 (New York) auf S. 9:
"            THE PHILHARMONIC CONCERT
LAST ONE OF THE HISTORICAL SERIES IT WAS.
A Work Not Heard Here Before is Now Historical–Anton Bruckner's Symphony in E Flat Admirably Played–Some More Music by Richard Strauss
     The final historical concert of the Philharmonic Society took place last night at Carnegie Hall. The programme consisted entirely of orchestral numbers, which were Pfitzner's overture to "Das Christelflein," Anton Bruckner's "Romantic" symphony in E flat, the preludes [... Richard Strauss ... Till Eulenspiegel ...]. Gustav Mahler conducted and the audience was very small.
     That we live in an automobile age has already been noted by no less an authority than the President of these United States, but even he would marvel at the rapid making of musical history. [... Pfitzner 1907 in Boston gespielt ...].
     The Bruckner symphony again gave music lovers an opportunity to study the methods and mannerisms of a deeply serious mind, perhaps too absorbed in its own operations. The first movement of this symphony is crowned with consummate mastership in development and orchestral treatment. Its thematic material is fecund and is ingratiating in itself. The most callous listener could hardly fail to discern some of its beauty. Yet here, as too often in other places, Bruckner did not know when he was through, and his overworked repetitions and long drawn coda detract from the escellence of the movement.
     There is less of the open air in the slow movement than in the first, yet here again one is drawn under the spell of the composer's intellectual concentration. This is thoughtful music, and the thinking listener can find fertile matter in it. But it does not touch the emotion quite so quickly as some other slow movements. It is the romance of the midnight oil rather than of the field and meadow.
     The scherzo echoes the ardor of the chase. It is a delightful scherzo albeit some of its phrases are a trifle abrupt. The finale is the least interesting of the four movements. It seems labored and without clearness of purpose. The symphony was superbly played and the reading was what might have been expected from Mr. Mahler, whose own music betokens him a sympathizer with the ways of Bruckner.
     The "Guntram" preludes [... über Richard Strauss ...]." (°).

The Brooklyn Daily Eagle Nr. 89 schreibt auf S. 8:
"PHILHARMONIC CONCERT.
     The last of the series of historical concerts [... last evening ... Pfitzner ...]; Anton Bruckner's romantic symphony in E flat, the preludes to Richard Strauss' "Guntram" and the same composer's wellknown "Till Eulenspiegel."
     The Pfitzner overture is pretty tuneful music, [...] The deeply serious Bruckner symphony appeals only to the intellect. It is romantic in the title, but nor in manner. It requires cose attention and last night the hearers seemed to grow restless before it was finished. The Strauss compositions appealed to the audience, [...]. Gustav Mahler's conducting was without a flaw, and the excellence of the concert deserved a larger audience than that which appeared." (°°).

The Brooklyn Times (Times Union, Brooklyn, New York) berichtet auf S. 6 von diesem Konzert:
"                    MUSICAL.
Last Historical Concert of the Session by the Philharmonic Society of New York.
     A concert wholly given over to orchestral music was given by the New York Philharmonic Orchestra at Carnegie Hall last night as the closing concert of the society's historical series. [... Pfitzner, Bruckner's fourth Symphony, Richard Strauss ...].
     Although given before in this country the Bruckner symphony had not been heard often enough to make its worth as generally known as it deserves to be.
     It is called romantic as reflecting out-of-door-scenes, and while not as vividly picturesque as many other works of similar import, it is a finely-wrought composition, marked by careful development and stirring climaxes and showing a profound sensibility to the capabilities of the orchestra. It reveals Bruckner in a more interesting light than some of his other works, which show a disposition to be discursive. Mr. Mahler led the orchestra in superb performances with free scope to the brasses and tympani that were overpowering at times, though brilliantly eloquent." (°°°).

Ein kurzer Bericht erscheint auch in The Brooklyn Citizen Nr. 89 auf S. 3:
"            HISTORICAL CYCLE ENDS.
Modern German Works Played by the Philharmonic Society.
     The series of so-called "historical" concerts given by the Philharmonic Society ended last night at Carnegie Hall, Manhattan, with a programme made up of works by Strauss, Bruckner and Pfitzner, all of the ultra-modern German school. Besides Strauss' [...] the works chosen by Conductor Mahler were Bruckner's "Romantic" symphony in E-flat and Pfitzner's overture to "Das Christelfein." [sic]
     It was an interesting programme throughout, for the Bruckner and Pfitzner works have much of musical beauty and richness, and Strauss' "Til Eulenspiegel" is full of musical merrymaking. The orchestra played with much discrimination and enthusiasm, and the result was very much worth while." (#).

Die New York Tribune Nr. 23146 schreibt auf S. 7:
"                      MUSIC
     THE PHILHARMONIC SOCIETY.
     The last concert in the Philharmonic Society's historical series was given in Carnegie Hall last night. There was proof in the size of the audience (probably the smallest that ever attended a Philharmonic concert in fifty years) that the programme had little attractive power. [... die Werke ...]. The symphony was heard here in 1888, under the direction of Mr. Seidl. Why it has not been heard since it would be difficult to say, if it were not for its last movement, which kills the pleasant impression made by the earlier movements to such an extent that the memory of their beauty is absolutely nullified when the work reaches the long-protracted, eagerly-yearned-for end. [... Strauss ...]. The music was brilliantly played, without exception, though the boundary between sonority and noise was frequently overstepped." (##).