Ein Artikel in The Omaha Bee Nr. 13 (Omaha, Nebraska) auf S. 8 befasst sich mit musikalischen September-Geburtstagskindern. Bruckner ist ein größerer Abschnitt gewidmet. Der Autor berichtet vom Münchener Musikfest 1909 mit der 3. Symphonie [am 20.8.1909] und der Widmungsannahme der Symphonie [13.9.1873]:

"                           MUSIC

SHE [recte: THE] month of September has been an important month in the nurseries of musicians, many who attained fame, having arrived upon this planet and started upon this sphere of existence during the month of September. [... Humperdinck 1.9., Amati 3.9. ...].

     Another great musician born in September was Anton Bruckner, who began his career as a boy on September 4, 1824, and who became known afterwards as one of the four "B"s. Bach, Beethoven and Brahms being the others. A Beethoven-Brahms-Bruckner cycle was given in Munich in 1909, which attracted the attention of the whole musical world, and which the present writer had the good fortune to attend, hearing at one of the concerts the famous Third Symphony which was dedicated to, and whose dedication was accepted by Richard Wagner.

     One of Richard Wagner's most intimate biographers tells that the Master of Bayreuth once said: "I should be so happy if I could meet once again something great and real and true in our music." "So," says the biographer, "he once greeted (1873) with sincere joy the thoroughly honest, true and bold symphony music of another Vinennese [sic] 'B.'–one that was never envious and ever touchingly faithful as a child–Anton Bruckner. The peculiar leading of a trumpet note had at once so struck him as a real symphonic effect that this trumpet became quite a feature of the to him, valued person of the composer in his happy, humorous way of good-natured intercourse with people. 'Bruckner, the trumpet': that was, too, the last call after he had acepted, gladly, at the request of the worshiper, the dedication of the D-minor Symphony (No. 3), which came with such a delightful surprise, and at the     same time said to the modest artist, to his never-to-be-forgotten happiness., "Dear friend, it's all right about the dedication, you give me exceptionally great pleasur with your work."

     September 5th interests us as the birthday of Meyerbeer [...]

     [... Dvorak 8.9. (war mit dem Gründer der Zeitung Omaha Bee befreundet), Clara Schumann 13.9., Theodor Kullak, Cherubini 14.9. ... Fortsetzung nächste Woche ... über eine persische Heilmethode mit Klängen ...]

     [... Liszt 100. Geburtstag am 22.10.1911 ...]. The musical leaders, here and abroad, will make a great occasion of the centenary.

                                                                THOMAS J. KELLY." (*). [siehe die Anmerkung]

Der Münchner Bruckner-Zyklus 1911 wird auch erwähnt in The Sun Nr. 17 (New York) auf S. 8:

"THE ÆSCHYLUS TRILOGY IN MUNICH.

     MUNICH, Sept. 3.–The annual visits to Munich of Professor Max Reinhardt, the director of the leading Berlin theatre, and his company of players have become one of the attactions [sic] of the gay summer season here, already replete with such diversified attractions as the Mozart and Wagner festival plays, the Beethoven-Brahms-Bruckner cycles under the direction of Ferdinand Löwe of Vienna, the two Salons, the regulars and the "secessionists," not to speak of special exhibitions, Japanese art, Mohammedan art or electrical appliances [...]. Truly the capacity of Munich for enjoyment seems to be as boundless as its consumption of the famous beer, [...].

     Two years ago when Reinhardt came here for the first time he confined himself chiefly to Shakespeare, Goethe and Schiller [... ausführlich (drei ganzseitige Spalten) über die Aeschylos-Trilogie (Orestie: Agamemnon, Choëphoroe, Eumenides) ... Signatur auf S. 9:] M. J." (**).

Mit Liszt beschäftigt sich ein Artikel in The Nebraska State Journal (Lincoln, Nebraska) auf S. 21 (= S. 5 des 2. Teils):

"                           Liszt As an Innovator.

     Some of the warmest admirers of Wagner and Liszt have stopped there and find no good in more recent innovators. Of Liszt as a musical originator the New York Evening Post has some interesting things to say: "The much-vaunted vagueness of tonalitiy that is praised so much in Debussy [...] is merely one of the many things in which Liszt anticipated the most modern of modern composers, as Adolf Brune pointed out in an admirable paper read by him at the recent convention of the Illinois music teachers' association. [... ausführlicher Bericht über diesen Vortrag ...]. On this point, after describing the symphonic poem created by Lizt, Mr. Brune remarks: 'If we except the works of Brahms and Bruckner, then all the greater works since Schumann are influenced by or based upon these principles of Liszt. We may mention the symphonic poems of [...]'." (***).