Aufführung der 8. Symphonie durch die Wiener Philharmoniker unter Oswald Kabasta in einem RAVAG-Rundfunkkonzert in Wien (*).

In The Morning Call Nr. 116 (Paterson, New Jersey) kommentiert auf S. 13 John Festeneck das Konzert vom 9.11.1930 anlässlich der Orgeleinweihung in Ridgewood [vgl. 17.10.1930] und vergleicht das "Te deum" von Pietro Yon mit jenem von Bruckner und erwähnt Äußerungen Schachleithners über die e-Moll-Messe:

"[...

     In words of comparison I could think of only one masterwork, this is Bruckner's "Te Deum." [...] Bruckner the Great, as Karl Schaelzer [recte Karl Schaezler?] calls him in an article which appeared in the Commonwealth of Sept. 17, 1930. This attribute we may earnestly accept, for it is universally accepted, especially in Europe [...].

     There is, however, still another of Bruckner's compositions, his magnificent "Mass" in E minor, which desreves [sic] mention in this discussion, chiefly because it convinces the musician of the composer's childlike and mystically deep faith combined with an astounding musical skill. The revered master of a scola Gregorian, Abbot Schachleitner characterizes this work as an "ideal mass." Pietro Yon's "Te Deum" fully deserves the same characterization, an ideal "Te Deum." [...] Bruckner's "Te Deum" was called the "pearl of great prize." Yon's "Te Deum" is a "prize of great faith, a demonstration of [...].

     My esteemed readers may rest assured that I am not partial to Pietro Yon's works because I enjoy the honor of his friendship and not partial to Anton Bouckner [sic] because I had the great privilege of having been his pupil. [...].

     Anton Bruckner and Pietro Yon have both established their fame and do not need my support. The world has spoken and we can only admire and believe in the words, "Vox Populi Vox Dei." " (**).