Besprechung des gestrigen Konzerts in The Sun Nr. 106 (New York) auf S. 9:

"             RARE WORKS HEARD IN CARNEGIE HALL

     The first concert of the twenty-third season of the Musical Art Society took place last evening in Carnegie Hall.     [... die Geschichte des Vereins ... früher vielleicht besser, aber "still vital" ...]

     It is not essential to catalogue all the doings of last evening. [... Palestrina, Gevaert ...] Franz Arens, the conductor of the Peoples Symphony Society concerts.

     Doubtless the majority of the auditors ´found the greatest interest in the middle section of the list  This comprised two numbers, Anton Bruckner's antiphon for four voices and organ, entitled "Tota pulchra es," and Sigfrid Karg-Elert's canzona, "Von [sic] Himmel hoch da komm ich her," [...]. Bruckner's music to this text, "Tota pulchra es, Maria et macula originalis not este in te." was probably made for one of the churches in which he was organist. In it the profoundly reflective character of this singular figure in the world of music, together with his simple reverence, are beautifully voiced in music of very lofty character and deep emotional significance. Those who have been at times irritated by the wearisome prolixity of the composer must have heard this fine, sincere and direct work with genuine delight.

         Karg-Elert's Work Elaborate.

     [... über das Werk (Violinsolist David Mannes, Organist Channing Lefebvre) ...].

     [die übrigen Werke ... am Klavier Herbert Fryer und James Friskin ...]." [keine Signatur] (*).

 

Die New York Tribune Nr. 25231 begnügt sich auf S. 11 mit einer kurzen Erwähnung:

"             YULETIDE SPIRIT THEME OF SONGS

                                        [...]

     There has been a reorganization of the Musical Art Society for business purposes, and it seemed last night, when the usual Chrismastide concert was given in Carnegie Hall, as if a new spirit had also been infused into the singers.

     Outwardly all was like it has been for years [... Frank Damrosch ... "the participation of the choristers of the Cathdral of St. John the Divine" (bei Palestrina (Fernchor) und Karg-Elert) ...].

    To this work Karg-Elert's setting of the Christmas hymn [... über dieses und andere Werke (Schumann, Cui, Brahms) ...].

     There was less of the old à capella music of the mediæl school than usual [...], but there was no dearth of novelties for all that. A "Salve Regina" composed by Franz Xaver Arens for the society years ago was revived and was practically new; there was a short antiphon "Tota pulchra es Maria," by Bruckner, the Karg-Elert piece [... über die weiteren Werke und die Mitwirkenden ...]." (**).

 

The New York Times Nr. 21144 schreibt auf S. 11:

"               THE MUSICAL ART SOCIETY.

                                      [...]

     The Musical Art Society began its twenty-third season last evening at Carnegie Hall with a concert that had several familiar features: [...].

     Three old French "noels," arranged by F. A. Gevaert, have long been popular with the audiences of the Musical Art Society [...]. An antiphon by Anton Bruckner, "Totapulchra es," is by a composer of distinctly modern tendencies, who put off his modernity to conform to the churchly  requirements of the tevt [sic], written for performance responsively by the choir and the intonation of the priest.

     An interesting adaptation of modern methods to an old practice is Sigfrid Karg-Elert's "canzona," [... über dieses und die anderen Werke...].

     The chorus has not in recent years sung better, either in quality of tone, correctness of intonation, or finish of ensemble and precision of attack. Though there was an accident in Sweelinck's motet, which made Dr. Damrosch begin it again, its effect was hardly disturbing. [... die weiteren Mitwirkenden ...]." (***).

 

The Brooklyn Daily Eagle Nr. 346 nennt auf S. 7 auch den Solisten bei Bruckner:

"              MUSICAL MOMENTS

     In the midst of a forest of cedars for background, the Musical Art Society, under Frank Damrosch, gave its Christmastide concert last evening in Carnegie Hall. [... Aufstellung und Kleidung der Chorsänger ... die Werke (Arens war anwesend) ...].

     Three old French Christmas songs [...]. The lullaby was exquisitely ancient and human. An antiphon by Bruckner, introduced the solo voice of Mr. Lawry, which had fine and eloquent appeal. Mr. Tucker's tenor was freah and moving in "Holy Night."

     The most impressive of the whole list of solos was the one which brought the boys and men of the choir of the Cathedral of St. John the Divine [... Leitung Miles Farrow, Knabensolist Allan Hilditch ...]

     [... die übrigen Nummern (weitere Mitwirkende: Miss Marchant und Miss Pratt, Herbert Freyer, James Friskin und George Anson Wedge) ...]. Dean Grosvenor, who was once a Brooklyn lad in the Church of the Incarnation, was in the audience." (°).

 

Ankündigung der 4. Symphonie für den 17./18.12.1915 in The Cincinnati Enquirer Nr. 349 auf S. 3:

"             THE NEXT SYMPHONY.

     Nature in a variety of her moods was the inspiration of two of the compositions to be played at the Symphony concerts of this week, the fourth symphony of Bruckner, also known as the "Nature" or "Forest" Symphony, and the overtrure "Im Fruehling" of Goldmark. Bruckner, in spite of his crude and rustic exterior, was a deeply poetic and sensitive man and keenly responsive to the moods of nature. Many of these he caught with unerring fidelity in his fourth symphony, particularly in the third movement, the scherzo, which suggest the song of the birds on the silent woods, the sound of the hunting horn in the forest and the general feeling of mystery which the solitude inspires.

     Something of the same mood is expressed in Goldmark's "Im Fruehling," [...].

     A great feature of interest on the program is the performance of the Tschaikowsky concerto [... schweizerischer Pianist Marcian Thalberg (aus Cincinnati) ...]." (°°).

 

In The Chicago Tribune Nr. 298 sind auf S. 8 einige Aphorismen und Gedankensplitter versammelt, deren einer Bruckner gewidmet ist:

"             A LINE O'TYPE OR TWO.

[...]

     "WE enjoyed Philip Hale's twenty-six pages on Bruckner," writes Leonard Liebling, "much more than ever we enjoyed twenty-six pages of Bruckner's music." Let that go double, Leonard; nor should we have to read Hale to know how you felt." (°°°).

[siehe die Anmerkung]