Lowe and I have recently gone through the score of the Seventh with Bruckner, discussing one or two alterations and improvements. You probably don't know that Nikisch has got him to agree to our cymbal-clash in the Adagio (C major 6-4 chord), along with the triangle and the timpani - to our unbounded delight.
(Johnson 1996: 123)

One of them have borrowed the original score of the Seventh Symphony and Bruckner was keen to rescue it, but despite repeated reminders it was not returned. When all else had failed, Bruckner finally sent Kathi, adding that she might like to 'say something' to the gentleman. And nobody could 'say something' like Kathi! Having done just that, Kathi returned with the score safe and sound. 'I snatched it off him', she reported proudly. Bruckner always laughed when he talked about Kathi's triumph. And now comes something very interesting! Bruckner claimed to have found an alteration in one of the trumpet parts! He was sure that he had written it quite differently! Ofcourse it was not true, but it shows well how deeply mistrustful Bruckner could be on certain occasions.
(Johnson 1996: 120-121)

One day I came home and felt very sad. The thought has crossed my mind that before long the Master would die and then the C Sharp Minor theme of the Adagio came.
(Watson 1996 (1975): 109)

One could see from the trembling of his lips and the sparkling moisture in his eyes how difficult it was for the old gentleman to suppress the deep emotion that he felt. His homely, honest countenance beamed with a warm inner happiness such as can appear only on the face of one who is good-hearted to give way to bitterness even under the might of most crushing circumstances. Having heard his music, and now seeing him in person, we asked ourselves in amusement, "How is it possible that he could remain so long unknown to us?"
(Watson 1996 (1975): 38)