1882–8: Annual Festival of the Worcester County Musical Association, volume 21, page 37 (self-published)
As a writer for orchestra, he has, however, won for himself quite general esteem. No more prominent example could be offered than his “Overture,” on Russian themes, “Op. 28.” Other noted works are “Conte féerique” (Op. 29); “Symphoniette” in A minor, on Russian themes (Op. 31); “Fantasie” on Servian themes (Op. 6); “Capriccio Espagnol” (Op. 34); “La Grande Paque Russe,” overture on themes of the Russian church (Op. 36); violin concerto on Russian themes (Op. 33).
1903–8?: Boston Symphony Orchestra, Programme, page 128 (self-published)
He wrote symphonies and a symphoniette on Russian themes, but his genius was best displayed in the briefer, freer forms. His third symphony, redolent of Haydn, — with a delightful scherzo, — his fugues, his quartet, show him a master of his technical medium: […]
Morton Gould took charge on July 3 and 4 and showed complete capacity to handle a symphony orchestra of the size and quality of the Philharmonic. His incisive, understanding and quietly informal manner did much for the music of the concert at which his own American Symphoniette № 2 was the outstanding work.
1944: Robert Elkin [aut.] and Dr. Malcolm Sargent [foreword], Queen’s Hall, 1893–1941, page 43 (Rider & Co.)
A few interesting ‘novelties’ were heard at about this period: Holbrooke’s Poem The Birds of Rhiannon (January 1924), Respighi’s The Pines of Rome, and Tscherepnine’s Symphoniette in C (October 1925), Weingartner’s Fifth Symphony (March 1926).
1872: Jean Édouard Gustave Bertrand, Les Nationalités Musicales Étudiées dans le Drame Lyrique, page 299 (Didier et Cᵉ, Libraires-Éditeurs)
Très-recherché et même précieux dans la demi-teinte, Félicien David s’élève aux effets de grandeur par la carrure et la simplicité. On pourrait citer dans les parties précédentes de l’ode-symphonie l’adorable petite chanson du mousse, le chœur des sirènes, peut-être aussi la symphoniette du départ, dont les fanfares et les détonations ne manquent pas de grandeur; mais les airs et les duo pseudo-dramatiques sont trop faibles, et nous ne les mentionnons que parce qu’on y surprend les premières velléités de F. David vers la musique de théâtre.
