The Observer Nr. 6775 (London) bringt auf S. 7 ein Interview mit Franz Schalk:

"                FRANZ SCHALK.

INTERVIEW WITH THE FAMOUS CONDUCTOR.

      THE STATE OPERA IN VIENNA.

  ANTON BRUCKNER AND GUSTAV MAHLER.

           (From Our Own Correspondent.)

                                                  VIENNA.

     One of the most inspiring conductors in the Austrian capital, equally conspicuous and original in his rendering of classic and modern opera and choraö and orchestral works, is Franz Schalk, who, together with Dr. Richard Strauss, manages the State Opera. Schalk, who has been good enough to give me an interview, looks back upon a long record. In 1880 he became a pupil of Anton Bruckner, for the popularisation of whose symphonies and choral works he has done more than any other living conductor. He was first in doing pioneer work for Gustav Mahler [... und Elgar, Granville Bantock ...].

     Asked about his connections with England, Schalk told me of his friends there and his pleasant remembrances. [... Heirat in London, 1898 Covent Garden Opera, Dirigate in London 1906, 1907, 1911 ...].

                      ELGAR AND DELIUS.

[...]

                   JOYS OF CONDUCTING.

     [... fast täglich am Pult "well and happy" ... Lob für Philharmonic Orchestra ... Oper auch nach dem Krieg auf hohem Niveau ...].

                            STRAUSS.

     "Richard Strauss's activity has greatly enhanced the Opera's reputation. One of his most beautiful works is 'The Woman Without Her Shadow.' [... gute Zusammenarbeit in der Oper, gute Besucherzahlen ...]. New productions are very expensive–Korngold's 'Dead City' cost a million kronen."

              BRUCKNER AND MAHLER.

     Schalk has just returned from a series of concerts he gave at Rome. where he had a most enthusiastic reception. He played Beethoven, Wagner, Bruckner, and Richard Strauss ("Zarathustra") to crowded audiences.

     "The problem of Bruckner's music," Schalk told me, "is still very remarkable. I did his Ninth Symphony, and apart from the magnificent Scherzo, the Italians showed ne appreciation. The Press wrote very much the same criticisms as the Vienna papers did some twenty-five or thirty years ago. So long as the players in the orchestra do not penetrate into the world and spirit of that great composer, audiences must remain cold.

     "You ask me if I consider Bruckner's case in England hopeless. I should say, No, but it may take some time. I know that Richter, Nikisch and Henry Wood tried in vain to make him understood there. However, I believe the problem will be solved as soon as the instrumentalists wake up; then also the audiences will be roused. Yes, Bruckner, a deeply religious Catholic, suffered terribly under almost general misunderstanding and the attacks of his many opponents. Does it nit seem strange to-day, when he is so much performed, that during the whole of his lifetime he did not make a penny out of his nine symphonies and choral works, and that the Emperor had to give him money for the publication of his Eighth Symphony, which is now recognised as one of his noblest, as all publishers refused to print it? In 1896, Bruckner died as an old man of seventy-four [sic], without ever having tasted the triumph of success. Gustav Mahler also suffered greatly through neglect and opposition, but whilst in 1904 audiences were still so lukewarm that he could be played only with very heavy deficits, in 1907 the situation suddenly changed, his works were received with the greatest enthusiasm, and during the last years of his life (he died in 1911) he could enjoy his laurels." " (*).

Die Mississippi-Blätter Nr. 93 (Westliche Post, St. Louis, Missouri) berichten auf S. 10 vom Schickals des Autographs der f-Moll-Messe:

"Das Manuskript zu Anton Bruckners F-Moll,-Messe.

    Die Herkunft des in Wien aufgefundenen und nunmehr sichergestellten mutmaßlichen Originalmanuskripts der großen F-Moll-Messe von Anton Bruckner ist noch nicht aufgeklärt, das Besitzrecht an dieser kostbaren, künstlerisch und materiell wertvollen musikalischen Handschrift noch nicht erwiesen. [...]. Der letzte Inhaber des handschriftlichen Werks war, wie gemeldet, ein Professor an einer Wiener öffentlichen Lehranstalt. Dieser auf der Wieden wohnhafte Mittelschullehrer wurde zur Polizei beschieden. Inzwischen wurden zwei Kriminalbeamte in seine Wohnung delegiert, um das Manuskript der Partitur der F-Moll-Messe zu übernehmen und in behördliche Verwahrung zu bringen. [... zur Entstehungsgeschichte der Messe ...]. Die Handschrift besteht aus einer Anzahl von gehefteten und numerierten Teilen. An verschiedenen Stellen der Hefte finden sich Signierungen und eigenhändige Randbemerkungen des Meisters. Der letzte Inhaber des Manuskripts gab bei wiederholten Verhören mehrere von einander abweichende Mitteilungen darüber, woher das Werk stammt und wie es in seinen Besitz kam. Nunmehr verblieb er bei der Angabe, er habe die Handschrift von einem in Mährisch-Schönberg ansässigen Industriellen erhalten. Das Sicherheitsbüro hat sich unverzüglich mit einer Depesche an den bezeichneten Herrn, um Aufschluß gewandt hat aber bisher keine Antwort erhalten. Nach Beendigung seiner Einvernahmen wurde der Professor wieder entlassen. Die Nachforschungen um die Vorgeschichte und die Art der Erwerbung der amtlich deponierten Handschrift werden fortgesetzt." (**).

In der New York Tribune Nr. 27167 wird Bruckner auf S. 63 (= S. 5 des 3. Teils) in einer Buchbesprechung erwähnt:

"                     Recent Biographies of Two British Composers

     Cyril Scott, Composer, Poet and Philosopher, by A. Eaglefield Hull, and Josef Holbrooke and His Work, by George Lowe, two biographical and critical studies, [...].

     Mr. Scott paid a visit to New York this winter [... darüber und über Werke und Leben von Scott (mit Abbildung) ...].

                  A Frank Egotist

     In marked contrast to this precious soul is the frank egotist Josef Holbrooke, whose motto has always been "Hard work." [... Abbildung, Lebenslauf, Kompositionen, Kritiken ...].

                Musical Opinions

     Of Wagner's "Ring" he says: "The music is one long sermon and it is not going to grow in favor as time goes on." Although he has great admiration for Richard Strauss he does not like the "Sinfonia Domestica," which, in his opinion, contains "a vast deal of 'horrid noise'–pure and unadulterated horrid noise." For the work of Mahler and Bruckner he has little sympathy, though he professes to find some of the music of Saint-Säens [sic] "pretty." A champion of English music, he likes Bantock's piano pieces and many of his songs. [... weitere Meinungen ...]." (***).

Aufführung eines Chores "The Song of the Birds" von Bruckner [= Anton Bruckner? siehe die Anmerkung] durch den Frauenchor der Arion Singing Society unter Ernest Scharpf in Brooklyn, 1002 Bushwick Avenue (°).