In der Österreichischen Volkszeitung Nr. 124 erscheint auf S. 4 ein mit "E. K." signierter Bericht von der Wiener Kirchenmusik an Ostern ("Te deum" und die drei großen Messen, 19.-21.4.1924) (*).

 

The Victoria Daily Times Nr. 106 (Victoria, British Columbia, Canada) berichtet auf S. 13 von der Filmmusik [mit Verwendung der 4. Symphonie, vgl. 10.3.1924 (Filmpremiere in Boston) und 27.4.1924 (gleicher Artikel)]:

"        Green Room Notes

[...]

Dr. Hugo Riesenfeld who spends $1,000,000 a year in the music of the four Paramount playhouses of New York City has thought out unique plans ensuring a high level of excellence to the presentations of "The Ten Commandments"  on tour.

     The essential feature of the plan (now being organized by Famous Players-Lasky) is to send a group of Symphony players on the road with each of the traveling companies. Headed by an operatic conductor trained by Mr. Riesenfeld, they will present a musical accompaniment equaling the grand effects at the parent house, the George M. Cohan Theatre, New York. This is something that only a highly trained orchestra of symphonists can achieve.

     "The Ten Commandments" music, written and arranged by Riesenfeld, is admittedly the most difficult ever synchronized to the screen. Parts of great compositions like Bruckner's and "Die Valkyrie" are used and the climax of Rubinstein's "Demon" opera accompanies the barbaric Golden Calf orgy." (**).

 

Aufführung der 4. Symphonie durch die Berliner Philharmoniker unter Wilhelm Furtwängler in München. Auf dem Programm stehen außerdem zuvor Webers "Freischütz"-Ouvertüre und als Abschluss Richard Wagners "Meistersinger"-Vorspiel (***).