The Cincinnati Enquirer Nr. 4 bringt auf S. 49 (= S. 3 des 4. Teils) eine Richtigstellung Kunwalds zu seinem am 28.12.1913 veröffentlichten Schreiben:

"              Matters Musical.

[...]

     Dr. Ernst Kunwald, conductor of the Cincinnati Symphony Orchestra, wishes to make a correction in regard to a statement which appeared over his name in these columns last Sunday. In the article in question Dr. Kunwald stated that none of Bruckner's works had ever appeared on the programs of the Symphony Orchestra. This he has since found not to be in accordance with the facts, as the orchestra under Frank Van Der Stucken had played one of Bruckner's symphonies [4. Symphonie am 9.3.1906]. This, however, was not the third, which the orchestra performed at the past week's pair of concerts. Other works of Bruckner have also been heard here, as performed by the Thomas Orchestra." (*).

 

Auf Seite 13 wird dem gestrigen Konzert mit der 3. Symphonie eine kurze Besprechung (die ausführliche vom 3.1.1914 ergänzend) gewidmet:

"                  BRUCKNER OPENS.

     A good-sized audience listened to the repetition of this week's symphony program at the Emery Auditorium last night. The performance was on the same high plane as regards interpretation and execution which had distinguished it on Friday afternoon.

     The reception which was accorded the Bruckner Symphony on both occasions speaks volumes for the musical taste and discrimination of our symphony patrons. It is doubtful whether in any American city this really heavy composition would have been, or has been, followed with such understanding on part of the general listener as it was here. And, what is still better, the audience at the last pair of concerts gave it their stamp of approval in such a unmistakable manner, which proves that no matter what others may think, Cinbcinnati is able to appreciate the genius of one od the greatest symphonists–some even say the greatest–since Beethoven." [keine Signatur] (**).

 

In einem Artikel über das Schicksal der Chorkonzerte in The Inter Ocean Nr. 286 (Chicago) auf S. 32 (= S. 8 des Magazinteils) wird Bruckner erwähnt:

"AFTER THE APOLLO CLUB'S GOOD WORK

ORATORIO traditions have become a glorious history in this city, [... Chor hat zu wenig Unterstützung (zu wenig Hörer letzthin bei "Messias") ... Repertoire wächst nicht so wie bei Oper und Symphonie ... Oratorium meist vom religiösen Empfinden abhängig (nicht mehr zeitgemäß) ...].

     Secondly, these few works have the element of novelty in no sense of the word. They have been sung, and sung, and sung. And yet, to risk a performance of the Bach B minor mass, or the Passions of the Brahms Requiem, of "Israel in Egypt," of the Bruckner masses or the Te Deum, of even the Elgar oratorios of our day, is to court financial disaster. [... interessantes Neues nur bei Georg Schumann ("Ruth") und Pierne ("The Children's Crusage") ...].

     [... weitere Überlegungen (Unterschied zum Operngesang etc.) ...]." (***).

 

The Boston Globe Nr. 4 kündigt auf S. 37 die Aufführung der 9. Symphonie am 16./17.1.1914 an:

"                Symphony Orchestra's Tour.

     There will be no Symphony concerts this week, as the orchestra will be away on its January trip to Southern cities. The program for the following week, Jan 16 and 17, comprises Bruckner's ninth symphony, "Unfinished," and Brahms' first pianoforte concerto, the soloist being Harold Bauer.

    [... Konzerte in Philadelphia, Baltimore und Washington mit Teresa Carreno, in New York und Brooklyn ohne Solisten ... die vorgesehenen Werke ...]." (°).

 

The Baltimore Sun Nr. 49 bringt auf S. 31 (= S. 15 des Magazinteils) eine Buchbesprechung: "     FOR MUSICIANS AND CONCERT AUDIENCES

TO the two invaluable volumes on "Symphonies and Their Meaning," by Phillip H. Goepp, there has just been added a third and final volume. The works it deals with are those which have made their way into the repertoire, at least in this country, but which stll lack general acceptance as classics–for example, most of the symphonic poems of Liszt, and the symphonies of such men as César Franck, Vincent D'Indy, Bruckner, Hugo Wolf and Gustav Mahler.

     Mr. Goepp's method of exposition is still the excellent one made familiar by his earlier volumes. [... eigens erwähnt: d-Moll-Symphonie von Gustav Strube ...], with fantastic but insinuating harmonies, and many other marks of oiginality.

     SYMPHONIES AND THEIR MEANING. By Phillip H. Goepp. (Cloth, 363 pp. $2. J. B. Lippincott Co., Philadelphia)." (°°).