Ein Artikel in The Inter Ocean Nr. 346 (Chicago, Illinois) auf S. 31 (= S. 7 des Magazin-Teils) befasst sich ausführlich mit Problemen der symphonischen Form und Bruckners Symphonien:

"Bruckner and His Works in Symphonic Form

BUSONI, in his most interesting, thought-provoking booklet, "A New Esthetic of Music," makes the point that as soon as a thought is realized we are arranging the different parts of that thought. [... bei jedem Denken spiele Formales eine Rolle ... über den Begriff "Form" ... Sonate und Fuge in der Musik ... Form-Erweiterungen und -änderungen bei Beethoven (incl. Brahms) und weitergehend bei Berlioz, Liszt u.a. ...].

     In so far as the symphony is concerned, we have had in the last half century but few great masters. Brahms, Bruckner, Caesar Franck are the greatest of them. In Brahms, and to a certain extent also in Franck, the drawing of the picture is the part emphasized; in Bruckner the coloring, the mood–not that Brahms has not coloring, but that it is incidental to the design; not that Bruckner's symphonies are unwieldy masses that have merely transferred the vivid orchestral colors of Wagner to this form, but rather that his form is less perfect–that one might with some justice make this distinction.

     Brahms was, in his feelings, his philosophy, more pessimistic, austere; Bruckner more naive and devout. [... über die Unterschiede (z. B. norddeutsch/österreichisch ... e-Moll-Messe sei größer als das Deutsche Requiem, das Adagio der 8. Symphonie nach Beethoven unerreicht ...].

     Brahms' symphony (1876) was the culmination of a long period of intensive self-criticism, and it came late [... aber schon früh Hauptwerke, dagegen Bruckner als Spätentwickler ...]. But Bruckner was no less a genius because he could not at first technically express himself.

     With him we are sometimes aware that the inspiration and the technic, the fantasy and workmanship are not so welded together that they leave no seam. Of the first symphony we have three [sic] versions; of the third in D minor two; [...]; the third, the one Mr. Stock is going to give us [10./11.3.1911], is "dedicated in deepest reverence to Master Richard Wagner."

     Dr. Max Graf Vienna, characterizes Bruckner thus: "Eine ungebrochene musikalische  Naturkraft" ("an unbroken natural musical force"). The roots of his work are sunk deep into the soil of his home, but the gnarled trunk and the crown point heavenward. [... Religiosität (auch in den Symphonien) ...], and so they culminate in mighty chorals and a Te Deum he wishes to be the crown of his last symphony.

     His outward appearance might evoke a smile–it was that of a peasant–but his head was that of a Roman imperator. [... Ausprägung in den Werken ...].

     When Bruckner was 30 years old he studied theory and instrumentation with Otto Kitzler, then opera conductor in Linz. [... Beziehung zu Wagner; dessen Einfluss ...].

     Bruckner, like all the great masters of the last half century, profited not a little by the revival of the compositions of the classic school of polyphonic writing of which Palestrina is the greatest genius. [... Gregorianik, Einfluss der Orgel ...].

     The writer has read with great satisfaction of the frequent comment of European critics on Bruckner's symphonies, which have become more and more enthusiastic as the conductors have entered deeper into the spirit of these great works. Whereas formerly the critics usually insisted on the blemishes of the symphonies and finished the rest with faint praise, an appreciation of their true worth is steadily gaining ground.

     The late Theodore Thomas did his share in America for their propagation. One of the most ardent champions of Bruckner is Bernhard Ziehn; it was he who opened the eyes of the writer to the wondrous beauties these works contain. Theodore Spiering gave us some years ago a fine performance of the string quintet in F major with the surpassingly beautiful adagio. And we will hope that Mr. Stock, who is capable of true enthusiasm, will vouchsafe us more frequent performances of the works of this great symphonist.

 

               Concert Calendar.

[... heute Busoni, donnerstags Minneapolis Symphony Orchestra ...]

[Es folgen die Programme dieser Konzerte ...].

     The Theodore Thomas orchestra, Frederick Stock, conductor, will have the assistance of Heniot Levy, pianist, as soloist next Friday afternoon and Saturday evening, the concerts to be given, as usual, in Orchestra hall. The program is as follows:

Overture to "Oberon" . . . . . . . . . . . . . . . . . . . . . . . . . Weber

Symphony No. 3, D minor . . . . . . . . . . . . . . . . . .  Bruckner

Concerto for pianoforte No. 2, F minor, op. 21 . . . . Chopin

Overture, "Carnaval" . . . . . . . . . . . . . . . . . . . .   Glazounow

     Other recitals listed for the near future are: Mischa Elman [... etc. ...]." (*).

 

Diese Aufführung der 3. Symphonie wird auch in The Chicago Tribune Nr. 10 auf S. 17 (= S. 5 des 2. Teils) angekündigt:

"     Heniot Levy will be the soloist with the Thomas orchestra Friday afternoon and Saturday evening, presenting the Chopin E [sic] minor concerto for pianoforte. The orchestral numbers include the Bruckner D minor symphony, the Weber overture to "Oberon," and the Glazounow "Carnaval" overture." (**).

[Auf derselben Seite Abbildungen von Busoni, Heniot Levy und Elsa von Wolzogen]