"Mr. Bloch's ideal of the Jewish music of the future is apparently the grotesque, hideous, cackling dispute of the Seven Jews in Richard Strauss's Salome...Nearly all of Bloch's music is hot in the mouth with curry, ginger and cayenne, even where one has a right to expect vanilla and whipped cream...The futurists have now taken to distracting attention from their creative shortcomings by pelting the ears of the hearers with cacophonies. It is the easiest thing to do. Even the mellifluous Mozart can be made to sound like Bloch or Shoenberg by simply changing all flats to sharps and all sharps to flats. Mr. Bloch seems to be really in need of such a method, for, with the keenest attention, the present writer, whom no real musical thought has every escaped at first hearing, could not find a single worthwhile melody in all the music he heard last night --- a part of Bloch's Symphony Israel., Three Jewish Poems, and an interminably long Hebrew rhapsody, called Salomon [Schelomo], for violoncello and piano, which does not reveal that monarch in all his glory. Mr. Bloch got plenty of applause from a large audience, largely of the Oriental persuasion."
(New York Evening Post, May 14, 1917)