The Inter Ocean Nr. 335 bringt auf S. 8 des Magazinteils (= S. 32?) einen ausführlichen Artikel über Arnold Schönberg, in dem auch Bruckner erwähnt wird:

"      Schoenberg and His Puzzling Quartet.

AT THE beginning let us remember that every one insisted a generation ago that Wagner "never would last"; that a decage ago the same persons were just as insistent that Richard Strauss wrote "some beautiful passages, but there is an awful lot that is horrible and ugly." Let us note, too, that today these same good folk are perfectly satisfied with both Wagner and with Strauss. The horrible and the ugly have disappeared. [... über Entwicklungen in der Musik ...].

     Schoenberg, like Reger, has been an insatiable student of advanced technique. His quartet proves so much. So did his "Five Little Pieces." There is not a page of either score which does not reveal a thorough knowledge of Bruckner, of Mahler, of the whole French school. [... Cesar Franck, Richard Strauss ...].

     In other words, Schoenberg has been the close student of all these glories of the art, has comprehended and absorbed them and–has he developed them another degree or has he merely perverted them? Let us scutter along some more logic.

          *      *      *

     Start at the beginning of this quartet. [... über dieses Werk ... über den Begriff des "Neuen" ...].

     The same argument stands for Schoenberg's polyphony and its incidental harmonic clashes. These are not chord combinations impossible before Schoenberg: they are chord combinations and progressions inevitable of development. They are forecast in the work of Strauss, of D'Indy, of Mahler, of Bruckner, of Beethoven. And that brings us down to the last point.

     [... späte Beethoven-Streichquartette ... Ausblick ...]." (*).

[auf derselben Seite eine Abbildung von Emil Oberhoffer]

 

The New York Times Nr. 20483 bringt auf S. 50 (= S. 84 der Literaturbeilage) eine Buchbesprechung:

"        Symphonies and Their Meaning

[...]

     With this book Mr. Goepp completes the survey that he has been making of the field of the symphonies living in the musical world to-day. It covers a large field; it includes symphonic poems and extends from Berlioz and Liszt through [... acht Namen ...], Dvorak, Bruckner, Wolf, Mahler, Strauss, Sgambati and Martucci, Elgar and the Americans. [... Kritik sei eine Form der Prophetie ... über Stil und Methode des Buches ...]. With some of his criticism there will necessarily be disagreement, for the musical world is actively debating about many of the musicians whose works he discusses. He has apt characterizations as when he calls Bruckner "a pedant who by persistent ingenuity simulates a master work almost to perfection." and is disposed to do it at least full justice.

     Music lovers will read the book with interest, and can profit by it. [...]." (**).