The Chicago Tribune Nr. 17 erwähnt auf S. 57 (= S. 1 des 8. Teils) Bruckner in Eric Delamarters Saisonrückblick [4. Symphonie am 17./18.12.1915]:

"Bach Cantata and "Intimate" Opera.

WITH more than polite regret the inveterate notes the ending of the twenty-fifth season of the Chicgo Symphony orchestra, Frederick A. Stock conductor, with the concerts of Friday and Satuarday past. [... elf Novitäten, davon sechs amerikanische ...].

     What "high lights" there were may be grouped into three classes–the strikingly successful soloists, the virtuoso interpretations by Mr. Stock, and the resurrection or submission of works not to be included in the ordinary list of novelties. [... Solisten (darunter Pablo Casals) ...]. Without exception, Mr. Stock's playing of the Strauss scores has been masterly. Beethoven's "Eroica" symphony and the symphonies by Schubert (in C), Mahler (the fourth), Bruckner (the "Romantic"), Brahms (in D and in E minor), and his own (in C minor), have been mighty efforts and significant. Three symphonies, especially, fall into the third class–the Mahler, Bruckner, and Alfven scores. And of these remain many things to be said. Also, of general matters pertaining to our symphonic temple.

     Ever so often rises up some youngster to exputiate upon the exquisite beauties of a more "intimate" opera. [... Opern ... Bach-Kantate ...]." (*).

 

Ohne Nennung eines Werkes wird Bruckner im Saisonrückblick in The Sun Nr. 236 auf S. 26 (= S. 6 des 3. Teils) erwähnt:

"MUSIC SEASON RICHER IN ARTISTS THAN IN GREAT MUSIC

THE musical season of 1915-16 is almost at its end. [... Novitäten (Mahler Achte, Schönberg Kammersymphonie) ... Solisten, Sänger ...].

     [...]. Not a single composer except Mahler has attracted any considerable measure of public attention in the course of the activities just ending. It is doubly unfortunate that the one writer to arouse discussion should have been the talented Viennese capellmeister who strove so magnificently to rival Bruckner in prolixity, ponderosity and obscurity of his utterance.

     [...]." (**).