The Observer (London) Nr. 6347 kommt auf S. 7 kurz auf die Beziehung Bruckners zu Mahler zu sprechen:

"                  GUSTAV MAHLER.

NEXT SATURDAY'S "IN MEMORIAM" CONCERT.

[... Erstaufführung der Siebenten Symphonie ...].

     Mahler was at once an idealist and an absolutist. His nine symphonies, the last of which he was never destined to hear, probably hold all that he would desire to be judged by. A pupil of Bruckner, and a great admirer of a much under-appreciated composer, his musical inclinations almost definitely tended towards a completion of that master's art-work in the symphonic form. His mastery of orchestral technique enabled him to strengthen with striking colour effects weaknesses in the matter of formal longueurs that were too often betrayed at the hand of Bruckner. He worked on a very large scale, and many of his symphonies call in the human voice, as well as additional instruments, to the aid of his broadly planned orchestral schemes. [...]." (*).

Der St. Louis Globe-Democrat Nr. 238 bespricht auf S. 12 das gestrige Konzert mit der 4. Symphonie

"               WEBSTER AGAIN PLEASES

[... Solist am Samstag anders gekleidet, Wetter noch schlechter als am Freitag ... Max Zach, Wolf-Ferrari ...].

     A second hearing of the Bruckner E-flat symphony brought into relief some of the hidden beauties of the work. The composer shows himself to have been a pioneer in the creation of rare effects, at least rare during his day; but these were elaborated quite extensively by later masters of both the French and the German schools. The names of Claude Debussy and Richard Strauss come to mind in this relation. In the management of the brass, Bruckner indicates an approach to Richard Wagner. Fortunately, both the French horn and the trombones choirs were in fine spirit and responsiveness last night and the work in its entirety made a much better impression than on the previous occasion.

     The Volkmann Concerto [... Webster, Zugaben ... Chabrier ... nächste Konzerte ...]." [keine Signatur] (**).

The Chicago Tribune Nr. 2 (Sonntagsausgabe) kündigt auf S. 19 (= S. 5 des 2. Teils) die Aufführung der 9. Symphonie am 17./18.1.1913 an:

"     Ernest Schelling, pianist, will be the soloist with the Theodore Thomas orchestra at the regular weekly concerts in Orchestra hall next Friday afternoon and Saturday evening. He will play the Liszt Pianoforte Concerto No. 2 in A major. The symphony is the No. 9 in D minor (unfinished) of Bruckner, which will be played as a tribute to the memory of the distinguished Chicago musician, Mr. Bernhard Ziehn, whose death occurred last September. The program also includes Hugo Kaun's symphonic prolog, "Mary Magdalene," and Berlioz's overture to "Benvenuto Cellini."

[...]

           Concerts for the Week.

...]

                    FRIDAY.

Orchestra hall–The Thomas orchestra, Ernst Schelling, soloist. 2:15 p. m.

                SATURDAY.

Orchestra hall–The Thomas orchestra. 8:15 p. m." (***).

Auf diese Konzerte macht auch der Chicago Examiner Nr. 26 auf S. 27 (= S. 9 des Teils) aufmerksam:

"Thomas Orchestra Concerts.

     The Theodore Thomas Orchestra, Frederick Stock conductor, will have the assistance of Ernest Schelling, pianist, as soloist at its regular weekly concerts to be given in Orchestra hall next Friday afternoon and Saturday evening. Mr. Schelling will play the Liszt pianoforte concerto No. 2 in A major. In these concerts Director Stock and the orchestra will pay tribute to the memory of Bernhard Ziehn, the distinguished Chicago musician, whose death occurred last September.

     The program in full is as follows:

Symphonic prolog, "Mary Magdalene," opus 44 . . . . . Kaun

Symphony No. 9, D minor (unfinished) . . . . . . . . . Bruckner

(In memory of Bernhard Ziehn, Jan. 20, 1845 - Sept. 8, 1912.)

Concerto for Pianoforte, No. 2, A major . . . . . . . . . . .  Liszt

Overture to "Benvenuto Cellini," opus 23 . . . . . . . . Berlioz" (°).