A. H. Fox-Strangways bespricht in The Observer Nr. 7245 (London) auf S. 14 (Fortsetzung auf S. 23) das Konzert vom 31.3.1930 mit der 4. Symphonie:

"     MUSIC OF THE WEEK.

[...]

     The British Women's Orchestra played this, with a little help in the brass, well. Their timekeeping is improved. The drummer ought to have a preliminary dose of oysters and champagne; if you are going to hit, hit. Violas had a nice tone; double basses too ragged. But this Bruckner! How on earth did, and do, the Viennese come to find anything in him? Brahms gives what sounds the true explanation. What were the Wagnerites to do for the sixteen years that followed the death of their pope? Brahms was the antipope, and as their new pope they chose Bruckner, "that smart peasant-mind" with his "boa-constrictor symphonies."  .  .  .  .   "Bruckner's work immortal! and 'symphonies'! It is ludicrous!" This was no odium musicum: Brahms was not like that. It may conceivable be the plain truth. Bruckner is just Coventry Patmore or George

Crabbe babbling on about nameless little parochialities–one foolish little tune, like a half-warmed fish, succeeding another, meaning nothing, building nothing. (Brahms's remarks occur in Richard Specht's Life, which is shortly to appear in English, by Eric Blom.)"

[siehe die Anmerkung] (*).

 

Der Wiener Rundfunk sendet zwischen 10:00 und 10:30 Uhr Geistliche a cappella-Musik mit einem Kammerchor unter Andreas Weißenbäck. Von Bruckner erklingen das Vexilla regis und das Christus factus est (**).