The New York Times Nr. 21868 vergleicht in einem Konzertbericht auf S. 13 Rachmaninoff mit Bruckner:

"           DR. MUCK, CITIZEN OF SWITZERLAND

                    BAVARIA IS HIS BIRTHPLACE

[... Details zur Familiengeschichte, Schweizer Pass, Brief des Bostoner Orchestermanagers ... Muck in den letzten Jahren stets unpolitisch, keine Probleme im Orchester mit 10 Nationalitäten ...].

Rachmaninoff's Long Symphony Wins Great Applause.

     The Boston Symphony Orchestra reached New York punctually yesterday on its second visit of the season [... Karl Muck herzlich empfangen ...Nationalhymne, Rachmaninows Zweite Symphonie e-Moll op. 27 ... Striche wären förderlich, aber kaum machbar ...]. The four movements are full of ideas; ideas of beauty and potency. They are treated with the assurance and in the large style of a master.

     He has continually something to say; something to add, to develop. It is all cogent, vigorous and organic. His hour's length is not the nour's length of a Bruckner, who labors with a few grandiose ideas and imbeds them in hard and dry concrete. Though Rachmaninoff's development is often too long, there is much of interest in his use of the "community of theme" in the recurrence of certain ideas common to several of the four movements. [...]." [keine Signatur] (*).

Die Bruckner-Affinität von Rabaud wird auch in einer Besprechung vom 7.12.1917 bestätigt, die in The Lancaster News Journal Nr. 256 (The News-Journal, Lancaster, Pennsylvania) auf S. 5 abgedruckt wird:

"MME. HOMER SUSTAINS INTEREST IN PROGRAM THAT HAD LITTLE ELSE TO STIMULATE AUDIENCE IN NEW YOR

     The New York "American" had the following to say yesterday about Mme. Louise Homer, a contralto singer, who has won much favor in this section:

     "Mme. Louise Homer was the 'star' soloist of the Symphony Society's matinee yesterday at Carnegie Hall. [... Walter Damrosch, Rabaud, Volkmann, Cesar Franck ...].

     "Rabaud, by the way, is the composer of  'Maruff,' which will have its American premiere on December 19 in the Metropolitan Opera House. In the first two movements of the Symphony heard yesterday he has most probably put his best efforts, for the Scherzo and Finale show a sharp decline in inspiration. But, strangely enough, the opening Allegro and the Andante are routed in the genius of Anton Bruckner, as is evident not only in the harmonic and contrapuntal treatment of the material employed but also in the cut of some of the theme. As a matter o f fact, there are few characteristically French traits in the music.     "Though the audience enjoyed Mme. Homer's singing most in [...]." [keine Signatur] (**).

[Auf Seite 1 der Wortlaut der amerikanischen Kriegserklärung vom 7.12.1917]