The Manchester Guardian Nr. 24322 stellt auf S. 11 die Bestückung der kommenden Saison unter Hamilton Harty mit Symphonien zur Diskussion:

"THE SYMPHONY AT THE HALLE CONCERTS.

     The short prospectus issued by the Hallé Concerts makes it clear that the symphony is to be the main feature of the coming concerts season. [... in 15 Orchesterkonzerten 14 Symphonien und "Zarathustra" ...].

     Given the point of view that so far as the German school is concerned Brahms is the culmination and end of the symphonic period, little fault can be found with the choice of composers. If, as we wish we could, we might take the scheme as no more than a prelude to a second part which would begin with some more Beethoven, and go on with Schumann, Berlioz, Bruckner, Mahler, and take in perhaps the Russians Borodine and Rachmaninoff and the Finnish Sibelius, the untertaking would have a sort if grandeur. [... über die Planungssitzung, Hartys Kritik an moderenen Komponisten ...]. César Franck finds a place in the concert scheme, but otherwise the omissions are the same, and the deductions to be drawn are that Bruckner, Mahler, Sibelius, Reger, and the rest are, in the great sense, negligible. The disquieting thing is that the programmes of the German concert societies are so far from bearing out this negligibility that the composers we most neglect have come steadily into favour, and are firmly established in it. If we take it that these composers are to be admired, not quite like Brahms but with certain deductions and differences, the question still remains whether we can afford to neglect them, or whether the hard judgment we pass in them may not be to our own loss. [...].  S. L." (*).

 

The Vancouver Sun Nr. 106 (Vancouver, British Columbia, Canada) schreibt auf S. 9 über die Filmmusik, bei der Bruckners 4. Symphomie mitverarbeitet wurde [vgl. 7.3.1924, 10.3.1924 etc.]:

"Musical Setting Real Delight

    Dr. Hugo Riesenfeld has arranged the musical score that will be played by an orchestra of twenty-five at the Orpheum when the  "Ten Commandments" is produced next week. The first part of the accompaniment, to scenes in Pharaoh's court and the exodus of the Israelites, is of decidedly Oriental flavor.     A big original theme is used for the pursuit by Pharaoh's chariots and the escape of the children of Israel through the divided waters of the Red Sea. The director derives the lighter motifs of the ancient story from the romantic Bruckner's symphony. Accompanying the orgies of the Golden Calf worship, selections from Rubinstein's "Demon" opera are adapted." (**).