Brief von Furtwängler an Rabinowitsch [vgl. 16.10.]:
   In welchem Ausmaß Löwe, Franz Schalk usw. Kürzungen, gerade in der 5. Symphonie, bei Bruckner veranlaßt und eigenmächtige Bezeichnungen vorgenommen hätten, lasse sich anhand der gedruckten Partituren nicht nachkontrollieren (*).

Artikel von Franz Baminger »Messe in E-moll von Anton Bruckner. [...] Erstaufführung in Steyr« in der Steyrer Zeitung (**).
Aufführung der e-Moll-Messe (in Vinzenz Gollers Orgelfassung mit Fritz Cloß an der Orgel) unter Franz Baminger in der Michaelerkirche in Steyr anläßlich des 75-jährigen Jubiläums der Steyrer Liedertafel (***).

Hinweis auf die Bruckner-Feier des Wiener Akademischen Wagner-Vereins am 27.10.1924 in der Österreichischen Volkszeitung Nr. 295 auf S. 8 (°).
Auf Seite 11 ein Bericht von der Bruckner-Feier mit f-Moll-Messe und "Te deum" [am 20.10.1924] (°°).

Das Neue Wiener Journal Nr. 11113 kündigt auf S. 26 die Aufführung der 8. Symphonie unter Clemens Krauss am 6. und 7.11.1924 an (°°°).

Die Reichspost Nr. 296 teilt auf S. 20 mit, dass am 2.11.1924 das Requiem [WAB 39] in der Gersthofer Pfarrkirche aufgeführt wird (#).

The Brooklyn Daily Eagle Nr. 299 schreibt auf S. 24 (= S. 2 des 2. Teils) über die Programmgestaltung der Society of Friends of Music:
"             The Friends of Bach
               By EDWARD CUSHING
THE friends of Music, under the scholarly direction of Arthur Bodanzky, have been sadly harassed [...] have been called by every name but their own–"The Enemies of Music," "The Passionate Friends"–and have at times deserved every name but their own. [... "exhuming musical cadavers" ... Kritik teils unfair ... über den Stellenwert von Raritäten im Konzertbetrieb ... den Wert von Novitäten besser zuvor abschätzen ...].
     Let us take Mahler and Bruckner as examples. Both of these men had something to say that was undoubtedly original, both were individualists and sincere, writing music because the inner necessity drove them to it. But both were handicapped in style. The first presented a curious mixture of the romantic and the modern. In Mahler's prolix symphonies there is a curious anticipation of modern thought, both in technique and expression.
     Of the orchestra he demanded strange things. Strawinsky's scoring form [sic] saxophones is prophesied in Mahler's demands for an army of mandolins. His forms, too, were distinctly latter day. The long song, with orchestral accompaniment belonged distinctly to him–it had, of course, its precedents; but Mahler achieved its glorification. With Bruckner (though the Friends have not recently played any of his nusic) the case is similar, in that this Austrian, contemporary with Wagner, was hampered in the expression of an original thought by a dry and often unlovely style.
     Is it right that these men should be forgotten? That, having contributed something of themselves to their art, they should be taken for granted and then shelved? Surely among us there are some, if not many, who occasionally desire to hear the naive and romantic voice of Bruckner raised above the din of Wagner, Tschaikowsky and Brahms, who desire occasionally to be refreshed by the childlike–not childish–simplicity and sincerity of this Austrian? And also do we not once in a while wish to be held spellbound by one of Mahler's incomplete dreams, those strange symphonies and songs that strive so mightily to attain sublimity and yet fail by the very reason of their strivings? To such among us as do wish this the Friends of Music address their appeal. For they have given us Mahler, and may give us Bruckner. And they have given us other of the neglected talents that burnt at times with strange and tempting fires.
LOOK over their programs for two years past [... Ravels "Scheherazade", Purcells "Dido and Aeneas", Ernest Bloch, Glucks "Orfeo" ... Entschädigung für unglückliche Mendelssohn- und Beethoven-Aufführungen und die "flood of indifferent moderns, Korngold, etc." ... Hauptverdienst ist die Bach-Pflege (jährlich zwei reine Bach-Programme) ...]." (##).

Ankündigung des Konzerts vom 30.10.1924 mit einem Brucknerschen Chor-Orchester-Werk [prov. WAB 67? prov. WAB 86?] mit einem Inserat im Berliner Volksblatt "Vorwärts" Nr. 506 auf S. 19 (###).