Besprechung des gestrigen Konzerts mit der 3. Symphonie in The Inter Ocean Nr. 352 auf S. 6:

"                  THOMAS ORCHESTRA CONCERT.

     In the supercilious attitude of a large portion of the musical public toward the more erudite form of orchestral composition is something of a disquieting promise for the future. So ingrained has become the belief in "program music" that works of astounding complexity are accepted with the boisterous hosanna, [... poetische Titel im Wohltemperierten Klavier würden "hysteric delight" hervorrufen ...]. But let us not become cynical with a Bruckner symphony as the text. That worthy musicmaker has enough to fight as it is.

     Mr. Stock elected to play the third Bruckner symphony in D minor yesterday afternoon. Several seasons have passed since its appearance on the programs. [... wie auch Mahlers Werke "a risk for the conductor" ...], and he who cannot find in them the sympathetic throb hates them with a cordial hatred.

     This D minor symphony by Bruckner is something in the order of the gigantically simple. It is like slow, powerful blank verse; its creator finds nothing in common with some of our modern juvenile squirts [...]. Moments pass during which Bruckner seems to be trying to get at the idea itself–as though he had the feeling for a certain and defined mood which would not adapt itself to the mold.

     In a Bruckner score, moreover, there is always the hint of another instrument's influence. As is well known, the composer was an organist [... Rolle der Improvisationen ("independence of spirit", Orchestrierung eigener Art) ...]. Moreover there is a trait of the stolid, obstinate peasant in Bruckner's work. Therefore loving care on matters of style is not according to his belief, and he hammers away at his argument as though every one were interested in arguments.

     It can easily be understood, therefore, that Mr. Stock chose a difficult problem for this concert. From a severely critical point of view, his interpretation deserves high praise. Eith his customary attention to the emotional content, he joined a scholarly regard for the details of execution. The scherzo is a good example. [... "a species of bucolic high spirits" ... wichtige Rolle kontrapunktischer Mittel ...], but their air of "counterpoint for counterpoint's sake" disappeared in a unity of aim–the expression of a true scherzo's mood.

     The slow movement has its pedagogic aspects at times. Its melodies, for all their long windedness, rarely threaten to flood the symphonic structure with passionate excitement. [...] The first movement remains in memory with less clarity of outline, possibly on acount of its episodic nature. But of the finale, conductor and orchestra joined hands to make a brave, resounding song; the Titan motif (though it be as old as the hills) became the inspiration of an impressive piece of absolute music. All the tricks of augmentation and dimunition [sic], of inversion and retrogression seemed to be logically a part of the design; and it was a pleasure to note the applause which followed.

     Mr. Stock's faith is justified and a repetition of the Bruckner symphony would be a desirable thing.

     The soloist of the day was the local pianist, Heniot Levy. [... Chopin ...]. Wisely he refused to give an encore.

     The other numbers of the program were the Weber "Oberon" overture [...] and the Glazounow "Carnaval" overture. This spicy Russian concoction wound up the day's proceedings with the dash of excitement appropriate as a antidote for the symphony.

                                              ERIC DELAMARTER." (*).

 

Eine Kritik erscheint auch in The Chicago Tribune Nr. 60 auf S. 4:

"                     Music and the Drama.

THE selection by the Thomas orchestra management of a resident pianist as soloist at yesterday's matinée was amply justified by the results. [... Heniot Levy mit Chopin ...] an angranted encore.

     The symphony was Bruckner's third. It has not been performed at the Thomas concerts for ten years, a circumstance that is difficult, indeed, to explain. For this symphony accomplishes the expression of a most attractive spirit in music. Strength, an abiding love of the beautiful, and a fearless effort toward emancipation from the hampering traditions of form are its dominant qualities. It has moments of great inspiration, like the principal themes of the first and last movements or the climax of the adagio.

     It moves to widely opposed contrasts, as in the passages in scherzo and finale that so faithfully reflect the grace and sensuous charm peculiar to the dance rhythms of the Viennese. It unfolds strong orchestral and harmonic traits that are markedly individual.

     But for all its freedom, its harmonic and orchestral originality, it does not establish the conviction that the composer has couched his messages in a new and vital musical idiom. One perceives the beauty of that message and gladly acknowledges its portent of dignity and power, and is yet unable to accept it fully because it has employed the worn out, four cornered rhythms of sequential elaboration. An ordinary and commonplace meter would ill comport with the dignity and beauty of the Psalms of David. So it is with Bruckner's sequences.

     The program opened with [... Weber ...]. The symphony likewise was read with splendid authority and the Glazounow "Carnival" made effective close to the afternoon." (**).