Aufführung der 4. Symphonie durch das New Symphony Orchestra unter Artur Bodanzky um 14:30 Uhr in der Carnegie Hall in New York.

Auf dem Programm stehen außerdem Wagners "Siegfried-Idyll" und Beethovens "Egmont"-Ouvertüre [Wiederholung vom 27.1.1920] (*).

 

Besprechung des gestrigen Konzerts in The Brooklyn Standard Union Nr. 208 auf S. 14:

"             THE NEW SYMPHONY.

     The music of Anton Bruckner has long been the bugaboo of orchestral conductors at large. But even as Brahms may be considered the most powerful symphonist since Beethoven, so may Bruckner, perhaps, be considered the most powerful since Brahms. Von Bulow's famous three Bs, if rearranged to apply to those who have developed structly the classical symphonic form, might well be changed to Beethoven, Brahms, Bruckner. Artur Bodanzky, at yesterday's matinee concert by the New Symphony Orchestra, given in Carnegie Hall, Manhattan, put very much to his credit a reading of Bruckner's Fourth Symphony that should open the eyes and ears of other conductors to the music of a neglected composer. This symphony, known as the "Romantic," has been heard twice in New York during the past thirty-two years, once under the baton of Seidel [Anton Seidl am 16.3.1888] and once under that of Mahler [am 30./31.3.1910]. Conceding that the work is lengty (its actual hearing occupying nearly one hour), conceding that many moments are dry and uninspired, non-fluent and at times banal, it must nevertheless be acknowledged that the total impression conveyed is one of power and intensiveness, these qualities relating to the power of development and strength of orchestration. The modern men of to-day may supersede Bruckner in largeness of expression, but in workmanship few can boast a superior command of material. Utilizing those elements of a phrase known as motives, Bruckner develops and enlarges these short succession of tones to an extent almost incredible. In general the music of this symphony as well as that of its companions is devoid of great poetry. But there is such a thing as the sublime grandeur of superb workmanship–the thrill that follows consciousness of absolute mastery. This thrill is experienced frequently while listening to Bruckner, and atones for much that is otherwise dreary and even melodically commonplace. The performance of the symphony by yesterday's players was magnificent, Mr. Bodansky [sic], in his interpretation, releasing and bringing forward innumerable details that might be missed by less perspicacious wielders of baton. Also in his reading of Wagner's "Siegfried Idyl" [sic] and Beethoven's "Egniont" [sic] overture, did this very fine conductor achieve a fullness of expression in many dramatic and lyric pages whose ideas are treated more or less mechanically by certain of Mr. Bodanzky's contemporaries.

     The same programme will be repeated this evening." [keine Signatur] (**).

 

The Sun Nr. 150 (New York) schreibt auf S. 11:

"         BRUCKNER WORK IS PLAYED AT CONCERT

                                     [...]

     The seventh afternoon concert of the New Symphony Orchestra took place yesterday afternoon in Carnegie Hall. The programme comprised Bruckner's fourth symphony, Wagner's "Siegfried Idyll" and Beethoven's overture to "Egmont." It is altogether fitting that Bruckner should have a hearing once in a while. In the first place he has lang been a subject of debate, and that indicates he is at least worth talking about. In the second place music lovers ought to have opportunities to hear the works of various composers and to make up their own minds in regard to them.

     Musical commentators are tempted to write much about Bruckner's symphonies, chiefly because their curiosity is aroused and their interest stimulated. This is in itself a good thing. The "Romantic" symphony, as the fourth is called, will perhaps not evoke such extended criticism as some of the others because its content is of meagre value.

     It is a pleasing work and sometimes betrays that charming naivete, which was part of Bruckner's complex intellectual equipment. Again it falls into confused prolixity, as is too often the case with the creations of this musician, who was wont to dwell too studiously upon his own ideas, and to continue their development after he had exhausted their possibilities.

     Mr. Bodanzky apparently found much to his taste in the fourth symphony, especially in some of its resounding climaxes. He conducted the work with enthusiasm and left little unrevealed. The orchestra showed progress in attack and general precision, though there were some regrettable technical slips. But on the whole the performance was commendable.

     [... über ein Kammerkonzert ...]." [keine Signatur] (***).

 

Verbesserungsmöglichkeiten im Orchester sieht auch der Kritiker des New York Daily Herald Nr. 30473 auf S. 20 (= S. 10 des 2. Teils):

"              NEW SYMPHONY'S PROGRAMME.

     Anton Bruckner's Symphony in E flat major, No. 4; Wagner's Siegfried Idyll and Beethoven's overture to "Egmont" comprised the programme of the concert of the New Symphony Orchestra yesterday afternoon in Carnegie Hall.

     Mr. Bodanzky had given the Bruckner symphony a careful rehearsal. His decisive and energetic beat, his striking dynamic contrasts, the swiftness from crescendo to diminuendo made this masterpiece of contrapuntal writing of interest even to those who find in music other delights than the purely mathematical. His treatment of the rhythmic device of the two quarter notes, followed by a triplet or [sic] quarters, was incisive, vigorous.

     If the quality of the strings and brass had been better, Mr. Bodanzky's notable reading would have had the artistic success it deserved to have. But solo parts reveal weakness that is sometimes hidden by fortissimo of crashing brass.

     The overture to "Egmont" also received an energetic, pulsing reading, but there, too, the unevenness in the string section, its roughness of tone and the weakness of the brass spoiled much of Mr. Bodanzky's best effort." [keine Signatur] (°).

 

The New York Times Nr. 22649 bringt ihre Kritik auf S. 22:

"       The New Symphony Orchestra.

    And now Mr. Bodanzky numbers himself among the numerous conductors who have entered upon propaganda for Anton Bruckner and have tried to make his symphoniey acceptable to the musical public of New York. At the concert of the New Symphony Orchestra, given yesterday afternoon in Carnegie Hall, he played Bruckner's Fourth Symphony in E [sic], called the "romantic." Following it on the program were Wagner's "Siegfried Idyl" [sic] and Beethoven's overture to "Egmont."

     Many of Bruckner's nine symphonies have been played here, some of them numerous times, but the public still remains recalcitrant. It is not for lack of knowing them that it remains so. The one most often heard has been the seventh. Gustav Mahler played the fourth ten years ago, and Anton Seidl first introduced it here in the eighties. It has certain qualities that makes it easier listening than some of the others. It is more concise; there is less of the laborious and arduous work of development, less dry elaboration in counterpoint. And yet even in this there are singularly important themes, a good deal of thundering in the index before they get a-going, a good deal of fruitless repetition.

     The orchestration shows Bruckner's fullness and richness of color. The first movement has themes of real beauty, and the development of them reaches a more cogent issue than is often the case with Bruckner; the march like andante has touching passages. The Scherzo is filled with the fanfares of hunting horns. Most commonplace of the four is the finale, which shows Bruckner's weakness in organic structure and logical development, his fondness for repeating in different keys and intervals the same phrase leading nowhere, of belaboring his material with fruitless toll.

     It might easily be that in a performance less masterly than that which Mr. Bodanzky gave it, one in which the orchestral voices were less skillfully related to each other, and the rhythms and phrasing less carefully elaborated, the symphony would not seem to have any considerable advantage over the common run of Bruckner's works. But its advantage, even as it was, was not enough to throw any brilliant new light on the composer." [keine Signatur]

 

Auf derselben Seite macht ein Inserat auf das heutige Konzert aufmerksam:

"CARNEGIE HALL { TONIGHT AT 8:15

    NEW SYMPHONY ORCHESTRA

of the Musicians New Orchestra Society.

             –Conductor–

Program: Bruckner Symphony; Beethoven Egmont Overture; Wagner, Siegfried "Idyll."

Tkts. Box Office [...]

     KNABE IS THE OFFICIAL PIANO."

 

Bruckner wird auf dieser Seite auch noch in der Kritik eines Klavierquintettabends als "nearest symphonic rival" von Brahms erwähnt (°°).

 

Eine weitere Besprechung erscheint in The Brooklyn Daily Eagle Nr. 27 auf S. 6:

"    "PELLEAS ET MELISANDE"

                            [...]

     [... Besprechung der Oper ...]

     The New Symphony Orchestra, Artur Bodanzky conducting, gave its seventh matinee yesterday in Carnegie Hall. The programe, which will be repeated this evening, comprised Bruckner's Fourth Symphony, Wagner's Siegfried Idyll," and Beethoven's Overture to Goethe's "Egmont."

     Now and again conductors rise who have a genuine affection for the symphonies of Anton Bruckner. Gustav Mahler was one; Artur Bodanzky quite naturally as Mahler's musical stepson is another. He had lavished much affection, much care in the preparation of thie "Romantic" Symphony. His directing was always "con amore"; he presided over his men with the hawk-like eye and gesture which differentiate his conducting–to the beholder at least–from that of every other conductor in the present public's view. Anf the result justified Mr. Bodanzky. The turgid measures of teh Allegro had refreshing sunlight in yeterday's performance, while the Andante flowed in a broad stream of melody. Despite the blatting weaknesses of his orchestral horns, Mr. Bodanzky made the Scherzo dance along merrily, nor did he fail to build the careful crescendi of the Finale. In precision and balance the symphony sounded as we, for our own part, have never heard it; 'tis a pity that Mr. Bodanzky cannot work the impossible and inject quality into an orchestra that is sadly deficient in that desideratum.

     [... über weitere Konzerte ...]." [keine Signatur] (°°°).

 

Die Kritik der New York Tribune Nr. 26736 ist auf S. 13 zu lesen:

"   Bruckner's Fourth Symphony Is Heard At Carnegie Hall

                By H. E. Krehbiel

     The occasional performance of a symphony by Bruckner is, apparently, an obligation which conductors impose upon themselves from a sense of duty. There have been indications, as there were yesterday when Mr. Bodanzky brought forward the fourth, which is yclept "Romantic," at a concert of the New Symphony Orchestra, in Carnegie Hall, that the performances are looked upon by the public in the light of impositions. Before then this work had been heard only twice in New York–at a "historical" concert of the Philharmonic Society, March 30, 1910, and a Seidl concert in Chickering Hall, March 16, 1888.

     In the ten years which have elapsed since the last hearing, the fifth, sixth, seventh and eighth symphonies of the composer have been performed, but the people of New York have been mercifully spared the ninth, of which Bruckner completed only three movements and abandoned with the suggestion that his "Te Deum" be performed as a finale and that the work be inscribed to God Almighty. Of the earlier symphonies we know nothing.

                Suffocated by Monotony

     Ten years ago we thought it a bit unaccountable that conductors had shown themselves indifferent to the Symphony in E-flat unless it was because they realized that the last movement was an incubus which must perforce kill the pleasurable sensations produced by the earlier sections, especially the Scherzo. Yesterday the reason seemed to us more obvious, though the "out-doorsy" spirit which breathes in the beginning of the first movement and awakens delightful expectations was speedily suffocated by the deadly miasma of monotony which exhales from the ingenuous themes. We cannot recall another work by an approved master in the technique of composition in which there is such an amount of making of faces as preludes to a significant utterance.

     And that is not all. No sooner is an idea brought to expression, than the music dies down to next to nothing and another ascent is begun to the same climax. The school of German composers, to which Bruckner belongs, used to have much to say in condemnation of the "Rosalien" of old-fashioned composers, meaning the reiteration of a melodic figure on different degrees of the scale for the purpose of leading from one theme to another. If there is another example in symphonic literature of the abuse of this trite but comfortable device comparable to that found in this work we do not know it.

                Cobbler's Patches

     We felt yesterday as if at least one-third of the score was filled with these cobbler's patches. Mr. Seidl used to repeat a description given by him of how he had seen Reissinger, or some other old pedantic worthy, at work on a score and heard him say: "Now comes a crescendo and we go up the mountain; then when we are so high, we come in the bottom again." It was vastly diverting as Wagner described it, but if his disciple Bruckner does more than march his instrumental hosts up a hill and then, like the King of France and his twice 10,000 men, march them down again, we cannot detect the action. The self-styled progressists may call this development; to us it is mere iteration, damnable iteration, which can corrupt neither sinner nor saint.

     There is pleasant music in the Scherzo, which is a "Hunt's Up" with commonplace dance music to accompany the meal on the greensward (to accept the composer's own program), but much of this was spoiled yesterday by the floundering of the horn players. On the whole, we fear that the performance of the symphony did no more habilitate it in the standard repertory than did the earlier performances by Seidl and Mahler. Its companions on the program, which will be repeated this evening, were Wagner's "Siegfried Idyl" and Beethoven's "Egmont" overture." (#).