Aufführung der 9. Symphonie und der Unvollendeten von Schubert durch das Cincinnati Symphony Orchestra unter Fritz Reiner im Emery Auditorium in Cincinnati. Wiederholung vom 6.4.1923 (*).

Besprechung des gestrigen Konzerts in The Cincinnati Enquirer Nr. 97 auf S. 9:

"                 The Symphony Concert

     Mr. Reiner paid a high compliment to the musical intelligence of Cincinnati when he offered a program made up solely of two symphonies. That took courage–or perhaps, since the programs for the entire year were mapped out while he was still in Europe last summer, he was merely planning his concerts as he would have for an European audience. Over there concerts are often made up of two symphonies, just as piano recitals consist of three Beethoven sonatas or some like erudite fare. In America such a concentrated program portends financial disaster, and consequently is rarely presented to the public. No matter where he was when he decided to present the Bruckner Symphony No. 9 (unfinished), and the Schubert Unfinished Symphony in B minor, in doing so Mr. Reiner paid tribute to the comprehensive powers of his Cincinnati audience.

     If one considers that Bruckner was mainly self-taught, his accomplishments in the field of symphonic music stand out as the fearless endeavor of one who never permitted interference. His abundance of ideas, both melodic and harmonic, is unique.

     However, many of his themes of lesser value are given an elaborate contrapuntal dress, while some of far greater values are allowed to pass by quickly. Thematic material is always abundant–in fact, too much so. There is constantly that apparent psychological separation of beautiful melody and the adjustment of a scholarly procedure in its working out. Peculiar, too, because Bruckner was a great contrapuntist–at least, so his pupils consider him–although by some authorities his counterpoint and general manner of writing is considered clumsy. Bruckner's music will live after much other music has been forgotten. His melodic flow seems unending, and the themes themselves strike one with their individuality. The interest they excite justifies their apparent lack of unity and of development, as we know it in Beethoven and Brahms. Bruckner's symphonies have a Wagnerian basis–a suggestion of Wagner mannerism–but the "leitmotiv" of the music drama is different in its effect when used in the symphonic form. To be quite honest, we cannot, as yet, place Bruckner because, firstly, he is too close to us, and secondly, not heard enough.

     But no one can deny his ability to write a real symphony. In the Symphony No. 9 Bruckner seems to use all of his musical devices. In the first movement he ranges from the severe idea of the chorale to that of the most romantic melody. Sometimes the vagueness of development is arresting, while sometimes, in direct contrast, the polyphonic fullness hold's one's attention. The scherzo is enchanting, and stunning in its handling. Form surpasses the stereotyped quality of the melody. In the adagio we feel less of Bruckner than in the preceding movements. It has tremendous sweep, mysticism; but much of Wagner. To avoid misunderstanding this Wagner flavor is an unconscious tribute to that composer, since Bruckner held him in such high regard that his admiration probably resulted in his using the same form of self-expression.

     The orchestra played wonderfully well. The ensemble was such that we can really feel proud of the organization and its conductor. If the public only knew the travail of preparation which is necessary for the performance of such a work.

     The Schubert "Unfinished Symphony," following the Bruckner, was good program making. The audience was carried from the little known to the known, and from the emotional plus the intellectual to the purely emotion appeal. Needless to say, Mr. Reiner and the orchestra played this always popular work with true feeling for the simple gentleness ans lyric beauty of Schubert.

     The program will be repeated tonight.         AUGUSTUS O. PALM." (**).