Aufführung der 7. Symphonie durch das Wiener Konzertvereinsorchester unter Ferdinand Löwe in Budapest (*).

 

The Brooklyn Daily Eagle Nr. 13 bringt auf S. 19 einen ausführlichen Artikel über ein Gespräch mit Karl Muck, in dem auch Bruckners Religiosität zur Sprache kommt und die anekdotische Begebenheit mit Herbeck [188/67f, am 12.5.1868 oder später??] erzählt wird: "     ccccc       A TALK WITH DR. MUCK.

     By count on the calendar, Dr. Muck is two months older than Mr. Fiedler; yet he seems now, as he seemed four years ago, much younger than his predecessor, writes "H. T. P." in the Boston Evening Transcript. [... am Montag Kontakt mit Orchester, erstes Konzert dann am Freitag ... äußerlich kaum geändert ... aber auch innerlich nicht ... Gespräche in München und Bayreuth ... über die dortigen Festspiele, über Schönberg ("The painters think him an excellent musician, and the musicians believe him an excellent painter.") ... Korngold ... Programmpläne für Boston und die Rolle von Novitäten ... auch gute Stücke fristen ein Schattendasein (z. B. Liszts "Mazeppa" oder Hauseggers "Barbarossa", Georg Schumanns Oratorium "Ruth") ...], whereupon the talk ran away to the devout or the undevout minds of composers and the play of one or the other cast of temper in them when they wrote the music of religious faith. Did Elgar's gain because he happened to be a devout Catholic and a sincerely religious man? Ought not Bruckner, the most devout of composers, who believed so simply and truly and who practiced his faith so loyally down even to the smallest observance–ought not this Bruckner to have written the oratorio of oratorios? Yet he never even tried. Once more, Dr. Muck's mind went quickly to the ironic side of the speculation. The devoutest of music must be performed in public. Shall the composer so lay bare his inner spirit? Even the native Bruckner could be shy in formal observance, when other and misunderstanding eyes were watching him. In a certain cold September the director of the Viennese Opera came to visit Bruckner at Linz, where he worked obscurely, bringing as he well might, a long-expected summons to Vienna. They stood in talk upon the chilly veranda at nightfall  The angelus sounded from a neighboring  church. By every obligation of the faithful, Bruckner was bound to uncover his head. Yet he knew that the "great director" made light of such things and it was not the hour to offend him. Bruckner hesitated long; then he removed his hat. "How hot it is; how very hot!" he said simply.

     After Linz, the conversation went a wandering again as it had done at the start. [... deutsche Städte, Berlin, Max Reinhardt, Hannover (bestes Hochdeutsch) ...]. The range of his conducting is an old story. It is the faculty by which he gives to each chosen piece its individuality. It is the play in music of this same wide-ranging, alertly interested, quickly penetrating mind." (**).