Aufführung der 4. Symphonie durch das Cincinnati Symphonie Orchestra unter Ernst Kunwald im Emery Auditorium in Cincinnati.

Auf dem Programm stehen außerdem Goldmarks "Im Frühling" und Tschaikowskys Klavierkonzert mit Marcian Thalberg [Wiederholung vom 17.12.1915] (*).

 

Aufführung der 4. Symphonie durch das Chicago Symphony Orchestra unter Frederick Stock in der Orchestra Hall in Chicago.

Solist in Bruchs d-Moll-Violinkonzert ist Konzertmeister Harry Weisbach; außerdem erklingen Beethovens zweite Leonoren-Ouvertüre und die Akademische Festouvertüre von Brahms [Wiederholung vom 17.12.1915] (**).

 

Besprechung des gestrigen Konzerts durch Eric Delamarter in The Chicago Tribune Nr. 301 auf S. 19:

"   MUSIC and the MUSICIANS

GENERALLY you can tell when they are coming, these Bruckner symphonies, without looking at the advance programs, simply by listening to groans round about, and noting the scattered empty seats an the afternoon of performance. Yesterday's audience at Orchestra hall was no exception, either as to groans or to empty seats–before the playing of the fourth, the "Romantic." Afterwards, it changed its mind. Some of it did. One good musician, an orgnaist [sic], confessed that he had acute mental indigestion, and a composer compared the score to a tasty bran-mash. But they were in the minority.

     Anton Bruckner was heard with sympathy, with subsequent spontaneous applause, with surprise and gratification  The "peasant composer," as some have called him, has been a long time on the road to favor in this country. He has been regarded as the symbol of all that is honest, but unnecessary. No one has ever accused him of pose, either in his workman's blouse and corduroy trousers (a garb he wore even at the organ bench during his famous vesper recitals) or in his rugged compositions. The trouble with it all seems to be that Bruckner was too deeply engrossed in what he was writing to care much about how others heard it.

                        ——

     This "Romantic" symphony, played only once in this concert series some nineteen years ago [am 22./23.1.1897], disputes that last observation, in its superficial meanings. For, if any one had doubts as to this symphony's orchestral effectiveness, the performance of yesterday dissipated them.

     From Wagner, Bruckner learned one thing which Brahms never learned–effective use of the brass department. From Wagner, too, he acquired the "leitmotif" idea, and the trick of writing "prose" with long-winded themes that need not stop to rest on a cadence every eight bars.

     This "Romantic" symphony has all the orchestral coloring, the knack of scoring dramatic point and the prolixity of the Wagnerian epoch. The question of Bruckner's greater interest in what he was writing than in the audience's comfort, comes in the matter of his melodies and their howling dervish antics.

     My mathematics professor used to cover a whole blackboard with squares and cubes and roots and sines and zodiacs of erudition no man had any need of, simply to demonstrate something obvious, like " x equals y." He probably saw its "beauty." He said he did. I didn't. Something the same with Bruckner's melodies, to most people.

                        ——

     Bruckner takes up a bit of a phrase; the more elemental the better. He spins it out, he dissects it, he inverts it; he reverses it, mayhap, and ties it up with counterpoint like a Christmas bauble. Upside down, and right side, he plays it together; it puts on whiskers in the second movement, and petticoats in the third. And the same fortunes attend any other ideas he may evolve at the moment. Wherefore, is he endless, as in the fifth and the seventh symphonies. Also, colossal, sometimes majestic, always emphatic.

     The "Romantic" is shorter than most of its brethren. It is more picturesque, more varied in treatment, more nearly sensuous in its beauty. It was graciously heard. It was remarkably played. The sheer breadth of interpretation Mr. Stock schemed for the first movement was impressive. The epic poesy of the slow movement (styled much like the introduction of Elgar's first symphony, and infinitely worthier) was suoerb, even if of a homely type of beauty. The finale, too, piled up effects as gorgeous to the theorist as to the chance listener.

     "Popular?" What does that matter? It's honest.

                        ——

     Harry Weisbach, concert-meister of the orchestra, was the soloist of the day, playing the Bruch D minor concerto. [... die weiteren Programmnummern ...].

     It was a thoroughly orthodox concert, thoroughly enjoyable, and will be repeated just as thoroughly this evening." (***).

 

Besprechung der anderen gestrigen Aufführung der 4. Symphonie, signiert "J. H. T.", in The Cincinnati Enquirer Nr. 352 auf S. 4:

"             The Symphony Concert

     The fifth program of the season of the Cincinnati Symphony Orchestra, under the direction of Dr. Ernst Kunwald, was given yesterday afternoon in Emery Auditorium. With Marcian Thalberg as soloist the following was given:

Symphony No. 4 . . . . . . . . . . . . . . . .  Bruckner

Piano Concerto, B-flat minor . .  Tschaikowsky

                             Mr. Thalberg.

Overture, "Im Fruehling" . . . . . . . .   Goldmark

     A program of unusual length, but not necessarily of the same proportionate enjoyment, was given by the orchestra yesterday, the major portion being taken up by a performance of the fourth symphony of Anton Bruckner. The works of this composer have not been very popular in this community. The symphony given yesterday was played about 10 years ago, when Van der Stucken was conductor of the orchestra.

     At the last festival, Theodore Thomas conducted he included the ninth symphony of this composer in one of the matinee programs, and at a previous festival gave his "Te Deum." An occasional performance of one of the Bruckner masses was given by local Catholic choirs in the days when mixed choruses were still in vogue. Two years ago Dr. Kunwald revived local interest in this composer by playing his fifth symphony and yesterday undertook to still further fan this interest by a performance of the fourth, generally known as the "Romantic."

     The Bruckner cult has never appealed to the American public, earnest though the efforts have been by occasional conductors to establish it in something like favor. Yesterday's performance merely served to indicate why there has never been any great demand or desire to hear much of this composer's efforts. There is no gainsaying their deep technical value, or even their appeal to the ear, while the sincerity and earnestness of the man who wrote them breathes from every page of the score. However, to be a good workman, a deeply religious man and a serious student does not necessarily insure for one's productions those marks which stamp the output of genius. Bruckner labored assiduously, sincerely, painstakingly, prodigiously, and much that he accomplished is worthy of great respect and admiration.

     But the divine spark was never his. He just missed it, and there is nothing that can be done by conductor or players to supply that which a work does not possess within itself. There are many pages of the symphony given yesterday which are of great beauty and appeal. The third movement is one of irrestible charm and fascinating interest, spontaneous and full of individual expression. At times the second movement also strikes a responsive chord. But, for all the flare and blare of the first movement, and all the contrapuntal exhibition of the last movement, the plain truth is that they are tedious. In spite of a cut made in the final movement the symphony lasted exactly one hour.

     Dr. Kunwald approached his task with great fervor and loving spirit. He has a deep admiration for Bruckner, and is eager to perform what he regards as his duty toward him. The orchestra put forth its very best endeavors, played splendidly and, in the third movement especially, scored a decided triumph. But, it was the performance far more than the work performed, which deserved the applause bestowed. It is right for a conductor to include a Bruckner symphony occasionally, but if a personal choice may be expressed, let that occasion be rare.

     The orchestra wound up the concert with a spirited and colorful performance of a Goldmark overture new here, [...] supplied a happy climax to the concert.

     Marcian Thalberg, well known in local musical circles, appeared as soloist. [... über Tschaikowskys Klavierkonzert ...].

     The concert will be repeated to-night.     J. H. T." (°).

 

Das Tägliche Cincinnatier Volksblatt Nr. 302 schreibt auf S

"                   Symphonie=Konzert.

     Gelegentlich des gestrigen Symphoniekonzerts, das ungeachtet der nicht gerade günstigen Witterung vor sehr gut besuchtem Hause im Emery Auditorium stattfand, wirkte ein geschätztes Mitglied der hiesigen Künstlerkolonie, der Pianist Marcian Thalberg vom Conservatory of Music, als Solist mit und der Künstler war Gegenstand wohlverdienter Ovationen.

     [... über Tschaikowskys Klavierkonzert (keine handelsübliche Interpretation ... Zugabe ...].

     Die Hauptnummer des Orchesters war Bruckner's "Romantische Symphonie", ein Werk, das Dr. Kunwald mit großer Sorgfalt einstudiert hatte and das auch eine wirklich ausgezeichnete Wiedergabe fand. Ungeachtet der idealen Auffassung des Werkes durch Dr. Kunwald, waren es nur die beiden Schlußsätze, das schlichte und so ansprechende Scherzo und das monumentale Finale, die einen wirklichen Erfolg erzielten, während namentlich der Andante Satz mit seiner ungeheuren Länge trotz der tadellosen Wiedergabe ermüdend auf die Zuhörer wirkte. Bruckner ist eben eine eigenthümliche musikalische Lost, die eine ganz besondere Art von Begeisterung voraussetzt.

     Schließlich brachte das Konzert noch Goldmark's überaus gefällige uund ansprechende Ouverture "Im Frühling", die gleichfalls in absolut einwandfreier Weise zur Aufführung gebracht wurde und Dr. Kunwald sowie den Herren an den Pulten stürmischen Beifall einbrachte.

     Das Programm wird wie üblich am heutigen Abend zur Wiederholung gelangen." [keine Signatur] (°°).