The New Times Nr. 20026 bespricht auf S. 4 das gestrige Konzert:

"              THE PHILHARMONIC SOCIETY.

     New York is gradually coming to know Bruckner's symphonic works, nine of them; though the process is a long one and to many more or less painful and weary. The Philharmonic Society at its concert last evening added one more to the number of his symphonies that have been played here, when the Sixth Symphony was put upon the programme and was heard for the first time in New York. Mr. Stransky seems thereby to declare himself among the Bruckner propagandists, in which, it may be said, he is in high company, for last year, his first in New York, he produced Bruckner's Fifth Symphony, also for the first time here.

     The process began some twenty-seven years ago; but it cannot be said of any of the half-dozen symphonic works of Bruckner now known to New York that they have made much headway, even with the more liberal and open-minded portion of the public. The Sixth Symphony that was heard last evening has somewhat less of the length, breadth and thickness that has characterized most of those previously played here- "Its general character," according to one of Bruckner's champions, Dr. Grunsky,, as quoted by the programme annotator, "gives more the impression of light, of brightness, than it does of stately gloom" –stately gloom being a prominent attribute of Bruckner in general.

     It also gives the impression of a less fortunate inspiration than most of the others. There are fewer of the grandiose pages of real splendor that are to be found in them; the thematic invention is less fertile, the laborious effort to build up climaxes more obious. There is much that seems fragmentary and that refuses to be welded together in logical cohesiveness. The orchestration of the first movement, at least, is lighter in texture than in Bruckner's work; ther are more effects of delicacy. The opening of the adagio has a certain attractive warmth and impulsivness, and seems a more natural utterance than is often to be found in these compositions, but it soon runs out into laborious music making, and is dried up in the composer's effort to be profound at any cost. There are passages of real splendor, but they emerge from longer ones of arid dryness. The last movement is wraught finally into some of those thunderous fanfares for which Bruckner displays a fondness, and in its way the climax is impressive. But the work as a whole does not serve to enhance esteem for the composer.

     Leopold Godowsky was the soloist. [... Brahms B-Dur-Klavierkonzert ...]. There was much applause for him, especially after the ineffably beautiful and poetic andante.

     The concert closed with Liszt's symphonic poem "Les Préludes."  " [keine Signatur] (*).

 

Auch The Sun Nr. 83 bringt auf S. 7 einen Bericht:

"           PHILHARMONIC PLAYS SOME MORE BRUCKNER

                                                 [...]

     The broad shadow of Anton Bruckner fell across the field of local musical art last night. We have had an interval for rest and recreation since the industrious Josef Stransky, conductor of the Philharmonic Society, propelled into the troubled atmosphere of Carnegie Hall Bruckner's fifth symphony on December 14 of last year. It seems that this conductor believes in Bruckner and it may be that he purposes to play him at us till we like him.

     At any rate at the second evening concert of the society, which took place in Carnegie Hall last evening, Mr. Stransky introduced to New York Bruckner's sixth symphony, which had not been heard here before. It may have seemed rather hard to light minded music lovers that they should have been asked to assimilate in one evening this important composition and Leopold Godowsky's interpretation of Brahms's B flat piano concerto, which is also of substantial texture.

     It may interest historical minds to know that last evening's was only the ninth performance of Bruckner's symphonic music in this city and the sixth since his death in 1896. The first took place in 1885 and was by the Symphony Society under Walter Damrosch. No one can predict when the last will be given, for Bruckner's slow growth in favor may presage a firm hold in the future. At any rate this is not the kind of music to be dismissed curtly. It may be prolix, ponderous and at times opaque, but it is the music of a genuine mind deeply absorbed in the contemplation of its own ideas.

    The symphony heard last evening is in A major and has the customary four movements of which the order is that found in the classic compositions. The organic unity of the work is by no means clear at a first hearing, but this is something which might clarify itself with repetition. On the other hand the immediate interest and beauty of the middle movements stand in sharp contrast to the value of the first and last.

     The first movement leans toward the episodic mannerism of much of Bruckner's art, and this militates against the achievement of an interesting impression in spite of the manifest excellence of much of the melodic material. The climaxes are reached abruptly and the ending of the movement is so awkward that it leaves the hearer in a state of suspended astonishment.

     The slow movement which follows is much more closely and fluently written, and its thematic ideas are broad, beautiful and poetic. Here indeed Bruckner obliterates the feeling that he is a closet[?] laborer, bent in profound reflection over his desk under the rays of the midnight lamp. Here for the time he becomes a singer of songs, and one reaches the end of this part of the symphony in a grateful mood.

     The scherzo is more ingenious than inspered. Nevertheless it is effective by reason of its uncommon rhythms and its cleverly devised contrasts. The trio is exceedingly well conceived, but is again marred by those characteristic interruptions which Bruckner is so fond of introducing in his music. The last movement seems to have been written under the spur of necessity. There had to be a final allegro, and so there it is. But it contains little which can move the imaginative hearer. It is the work of a musical thinker, but it was not produced in a period of fecund fancy.

     Not having seen the score of this imposing composition the writer is unable to say that Bruckner is to blame for the inordinate employment of inverted horns. But in the first movement "bells up" was a frequent direction, while in the last it became a positive nuisance. Such an assault upon the ears has not recently been made in Carnegie Hall. If Mr. Stransky was responsible for the turning up of the bells one can but pray him to spare us all in the future.

     The solo performer of the concert was Leopold Godowsky [... mit Brahms, einige Vorbehalte, Lob for das Solocello (Leo Schulz) ...].

     The concert was brought to its conclusion considerably after 10 o'clock with Liszt's "Les Preludes," which here appeared as the postlude to an entertainment overgenerous in its amplitude." [keine Signatur] (**).

 

The Brooklyn Times (Times Union, Brooklyn, New York) schreibt auf S. 11:

"              PHILHARMONIC CONCERT.

                                        [...]

     At the second of its season's concerts, at Carnegie Hall last night, the Philharmonic Society offered a programme of unusual richness. Anton Bruckner's Sixth Symphony, which had not before been played here, was introduced and Leopold Godowsky made his re-appearance here after an absence of a dozen years. In addition to this very generous offering, Liszt's "Les Preludes" were played. Bruckner's Symphony, which follows the conventional form of this composition and reveals a masterly craftmanship and much imaginative and poetic beauty, especially in the second and third movements. The composer discloses a tendency to episodic treatment which is a trifle bewildering at times, notably in the finale to the fast movement. This tends to break up, the essential idea of an organic unity.

    The slow movement is distinguished by great beauty and profound feeling. The Scherzo discloses a jocund grace and piquant contrasts. It has marked ingenuity of ideas and treatment. The orchestra under Mr. Stransky's efficient and musicianly leadership gave a highly interesting and admirable performance of the new work. It has the qualities which demand repeated hearing for a[?] just appreciation of its qualities.

     Mr. Godowsky strengthened the conviction he had established upon his appearance here years ago, that he has command of an amazing technic. [... kurz zu Brahms ...]. Great enthusiasm was accorded him.

     Mr. Stransky brings a conspicuous sympathy to his reading of Liszt and "Les Preludes" was enjoyable." [keine Signatur] (***).

 

Am kürzesten fällt die Besprechung in The Standard Union Nr. 144 auf S. 14 aus:

"THE PHILHARMONIC SOCIETY'S CONCERT

     At the concert of the Philharmonic Society last night at Carnegie Hall, Manhattan, Leopold Godowsky, the pianist, made his reappearance [...]. The concert opened with Symphony No. 4 [sic] of Bruckner in four parts, and it is truly representative of the works of this Viennese master. Last night's performance of it was the first in this country. Brahms' B flat concerto was chosen by Mr. Godowsky for his part of the programme [...]. He was ably assisted by Leo Schultz, the first 'cellist of the orchestra, who played the 'cello obligato admirably. The concert closed with the symphonic poem "Les Preludes" of Liszt." (°).

 

Aufführung der 6. Symphonie durch das New York Philharmonic Orchestra unter Josef Stransky in der Carnegie Hall in New York. Auf dem Programm stehen außerdem das B-Dur-Klavierkonzert von Brahms (mit Leopold Godowsky) und Liszts "Les Preludes". [Wiederholung vom 21.11.1912] (°°).

 

Ankündigung von 9. Symphonie und "Te deum" für den 28.11.1912 in The Manchester Guardian Nr. 20685 auf S. 8:

"                    THE HALLÉ CONCERTS.

[... Besprechung des gestrigen Konzerts (d'Albert mit Es-Dur-Konzert Beethovens, Brahms Zweite, Richard Strauss "Macbeth", "Manfred"-Ouvertüre) ...].

     Next week's concert is a notable one. The Ninth Symphony of Bruckner will be given for the first time, and the same composer's Te Deum will also be given. The greatest choral work of the nineteenth century, Brahms's "German" Requiem, will make the second part of the concert.                    S. L." (°°°).

 

Auf Seite 1 macht ein Inserat auf die morgige Extraprobe aufmerksam:

"THE HALLÉ CHOIR.

There will be a SPECIAL REHEARSAL of Bruckner's "Te Deum" and Brahms's "Requiem" in the MILTON HALL, Deansgate, at 2 30 p. m. TO-MORROW (Saturday). All members are requested to attend.     W. H. NEILSON, Choir Secretary." (#).