Brief von Max von Hussarek-Heinlein (Minister für Kultus und Unterricht) an Propst Josef Sailer in St. Floria

     Die im Schreiben vom 1.12.1913 befürwortete Einberufung von Dr. Franz Pisecky in das Ministerium sei nicht aussichtsreich.

     Zeitgleich mit Sailers Schreiben sei er eingeladen worden, in das Ehrenpräsidium des Bruckner-Denkmal-Projekt des Linzer Musikvereins einzutreten. Zuvor aber wolle er sich über das Projekt informieren (*).

Besprechung des Konzerts vom 8.12.1013 mit dem Quintett in The Manchester Guardian Nr. 21011 auf S. 10:

"MISS EDITH ROBINSON'S QUARTETT CONCERTS.

     In the production of unfamiliar chamber music Miss Robinson's Quartet concerts more than maintain their interest, and their value grows as chamber music becomes more and more neglected. It should hardly have been left for anyone to-day to produce for the first time in Manchester either the String Quintet of Bruckner or the solo cantata, "Ich habe genug" of Bach. In the quintet the extra viola part was taken by Mrs. Rawdon Briggs. The work is a maze of intricate melodies, whose relation to each other in controlling power or subordination it is by no means easy always to ascertain. In their artful intermingling and overlapping range they often, to the listener at a distance, conceal their individual beauty of outline. If the listener could sit in the midst with the players ranged round him, with the interwoven strains coming from all sides, he might perhaps appreciate to the full both their artifice and their beauty; as he is ordinarily placed the very wealth of the composer more or less defeat itself. It has been wisely said of Beethoven that if you play him in a bravura style, with comprehensive accentuation and grouping of the rapid notes, you miss his true energy. The saying is more or less true of every composer of the highest rank. In Bruckner, it seems true that however much like vain figuration his melodies may seem, they must always be sung, and that with a flexibility and energy that make full allowance for their greatly varying intervals, even in fairly rapid movement. One felt last night that there was often an attempt to conform passages to the style of figuration that might well have been treated more melodiously and energetically, and also that when the lower instruments assumed control they might well have done so in a more thorough-going and salient manner. The work has doubtless many practical defects in performance, even if everything that is possible were done for it. The slow movement was by far the most beautiful last night, and is, of course, admittedly one of the gems of Bruckner's writing. Here also we had some rich and daring 'cello playing by Miss Mary McCallagh [sic] and finely melodic viola playing of Mrs. Briggs. In the other movements there seems some inconsistency between the lightness and gaiety of the poetic ideas and the laboriousness of the workmanship. In Bruckner's most exalted moments he is generally to be recognised as sitting at the feet of somebody, and in the final ecstasy of the quick movements in this quartet [sic] there is each time more than a hint at the melodic and rhythmic flow of the Rhine Maidens' music.

     The Bach cantata [... ausführlich hierzu ...]. The concert ended with a fine performance of the C minor Quartet of Brahms.

     At the next concert Reger's Quintet for Pianoforte and Strings will be introduced.

                                                S. L." (**).