Customer Reviews

Bruckner: Symphony No. 4

5 star:		(3)
4 star:		(2)
3 star:		(2)
2 star:		(2)
1 star:		(1)

 

 

Sir Simon Rattle's majestic account with the Berliner Philharmoniker of Bruckner's 4th "Romantic" Symphony may be the best recording he has made with this venerable orchestra so far. Its sterling musicianship is as fine as it was during when both Herbert von Karajan and Claudio Abbado were at their peak as conductors leading this orchestra, which is still one of the world's very best. Special praise must go to the principal French horn solo which opens the first movement, and to some memorable flute solos from, presumably, principal flutist Emmanuel Pahud, as well as some other elegant, exquisite playing from the winds, horns and strings throughout this recording, which was compiled by EMI sound engineers from several 2006 live performances held at Berlin's Philharmonie Hall. Rattle's interpretation is replete with broad tempi, and yet this is one performance which doesn't "drag", but instead, is insightful, with Rattle leading the orchestral in a lyrical interpretation which expresses the sonic richness of the architecturally complex 1886 Nowak edition of Bruckner's score. But is Rattle's interpretation a definitive one, worthy of interest to those seeking the "best" interpretation of this symphony?

There are many fine accounts of this symphony, so the short answer to my question is "No". Indeed there are three exciting accounts recorded between 1975 and 1997 that I recommend quite highly, featuring both excellent playing from these orchestras and a rather faithful adherence to brisk tempi from three different conductors. Before I discuss these recordings at some length, I must mention too, Karl Bohm's critically acclaimed account recorded for Decca back in the early 1970s with the Wiener Philharmoniker, which has just been reissued by Decca in a 24 digital image bit processing remastered version; many might regard this as the "definitive" version. The oldest of my favorite three recordings of the Bruckner 4th Symphony is Eugen Jochum's superb account with the Staatskapelle Dresden for EMI; this recording is noteworthy not only because it was among the last made by one of the 20th Century's greatest Bruckner conductors, but because of the exceptionally fine, most vibrant, playing from this venerable German orchestra (This may indeed be the definitive recording of this symphony for the very reasons I've cited.). Another exceptional interpretation was recorded by Bernard Haitink and the Wiener Philharmoniker for Philips in the 1980s, and was the first great digital recording made of this symphony. Last, but not least, Nikolaus Harnoncourt's riveting interpretation with the Royal Concertgebouw Orchestra, recorded for Teldec in the 1990s, may be the most interesting musically, simply because Harnoncourt relies partly on period instrument practice (At approximately one hour in length, his recording is nearly 11 minutes shorter than Rattle's.).

The supposedly `anti-epic' readings of Bruckner claim many victims. It has become fashionable to try applying to Bruckner an approach which aims at lighter orchestral textures and restrained expression. Rattle's Fourth with the Berliner Philharmoniker is an interesting example. As is the case with some of Haitink's more recent Bruckner recordings, it is not a Germanic approach that is missing here; rather what is missing is a genuine interpretative viewpoint, an attempt to mobilize the score in a particular manner. This is remarkable since there are so many different and divergent recordings of the Fourth that are important, despite being so different. Karajan's with the Berliner presents us with an awesome adventure in sound, without losing sight of the tension inherent in the score (DG). Jochum's Dresden recording brings to modern audiences a somewhat archaic touch with lots of flexibility in tempo and phrasing coupled with heartfelt interpretative insights (EMI). Then there is of course Böhm's natural and graceful recording with the Wiener Philharmoniker (Decca), and - perhaps at the other end - Sinopoli's intellectual dissection of the Fourth to the point of deconstruction (DG). They are so different but they share one significant aspect: they all have something to say.

Rattle's Beethoven cycle with the Wiener Philharmoniker was at least able to present a worthwhile mix of insights gained from recent scholarship and older orchestral sensibilities. This, on the other hand, is quite simply Bruckner without a soul. Nor is it a match for Sinopoli's sharp analytical reading on DG. Far from it. In the absence of at least some evident intellectual curiosity, Bruckner without a soul comes close to rehearsing climaxes. Only the Andante starts off with some wonderful, intimate playing but even this ends up being unconvincing and life-draining. This is simply a recording full of transparent sound, nicely controlled crescendos, and some skillful soli coming from gifted and accomplished musicians. Sleek, but where's Bruckner?

Really, this performance, Bruckner-wise, is shallower than the Aral Sea. For all the surface beauty & rhetoric, any metaphysical connection with Bruckner is spasmodic at best. Karajan, it is reported, would take a week to recover from a performance of the Sibelius Fourth. On the evidence at hand, come the coda of the final movement, Sir Simon jauntily booked himself in for the another sexy man-perm.

The Romantic Symphony is a deeply numinous if not terrifying work - terrifying in the same sense as Sibelius looking out at the Great Forest from his dwelling in Ainola and knowing in his bones that Otherness - perhaps Tapio himself - is resident. It's where the Wild Things really are. Take, for instance, the great chorale in the middle of the first movement; with the likes of Karajan (DG), one is immolated like the Burning Bush. Sir Simon, on the other hand, evokes a fine orchestral response and not much else. The opening horncall is prosaic and the slow movement has the mystique of a hamburger joint.

The real test is this: where's the hunger for Rattle's Eighth? Mmmmmh: the rest is silence.

And if you want a real laugh, watch the promotional video that EMI released in conjunction with the CD. It is on YouTube. Poor old Sir Simon is decidedly uncomfortable when he addresses Bruckner's Catholicism - his Adam's Apple is bolted down but watch his eyes when the moment of terror comes.

I rest my case.

If you need a Four, turn rather to Karajan (either will do), Bohm, Furtwangler or Wand.

Gobble Gobble.

There is no shortage of fine Bruckner 4s but this is another one. And it was recorded live, which I can't recall being true of many others, perhaps Wand's BPO CD for RCA. The performance has a slight Schubertian tinge but is weighty and powerful with plenty of impetus.

The BPO playing is outstanding as is the recording - with the slight caveat that the in opening pages of the first movement occasionally the brass attacks lack crispness and the recording doesn't seem quite as transparent sonically as the rest of the performance - was this perhaps recorded on a different night to the rest of the CD? But these are minor quibbles.

In fact the only reason I might not give this 5 stars is the presence in the catalogue of a more individual reading - namely that by Celibidache on EMI. Here Celi's interpretation and penchant for slightly slower speeds make absolute sense, and one ends up almost with a recreation rather than an interpretation. That would be my first choice.

Unlike the Amazon reviewer Edith Eisler, I did not find the performance "immensely exciting, expressive, and evocative." At 71 minutes this is perhaps the longest Bruckner 4th I have heard. I thought the 2nd movement dragged a little as did the middle song portion of the 3rd movement scherzo. The orchestral playing seemed average to a little above average. This is strange feeling for me since I cannot remember ever thinking "average playing" in connection with the Berlin Phil.

I much prefer either the EMI Karajan/BPO, or the Deutsche Grammophon Karajan BPO mid 70s (for that matter lets throw in Barenboim BPO) 4ths over this Rattle BPO rendition.

After hearing for ages so GIANT performances of this symphony by
this orchestra under batons of Karajan, Jochum, Wand, even Tennstedt,
this new B4 is a relative deception. Although the BPO can play this
work in autopilot, i can see the absolute lack of character, blandness
and in general terms an unidiomatic performance that doesn't have even
an ideal sound balance. Not good for real brucknerians.

One advantage of conducting a world-class orchestra is that difficult music can be made to sound effortless at every dynamic, from softest to loudest. Rattle exploits that advantage to the fullest in this live Bruckner 4th from Oct. 2006. The opening string tremolos shudder on the brink of inaudibility while thunderous fortissimos fill the acoustic space withut strain or blaring. The sheer ease of this performance is quite remarkable, and it allows Rattle to use a soft touch; rarely have I heard such sensitivity in Bruckner.

Another, more obvious advantage to leading a world-class orchestra is that the conductor can insist on perfect faithfulness to the composer's wishes. Bruckner calls for an immense dynamic range but also for a contrast between extremes of inward and outward expression. One minute he's building a cathedral and the next minute he's praying in it. I was deeply impressed by how well Rattle captures both extremes. In the past his prevailing fault when leading the Viennese classics has been lack of emotional involvement, which led him into fussiness as a substitute for real feelings. That's not true here -- I got goosebumps as waves of expression poured from these musicians.

Other reviewers have made specific points about tempo and phrasing, noting the unusually relaxed finale and the slowdown for the trio in the Scherzo, for example; Rattle's choices otherwise fall well within the normal range. On the whole, his Bruckner is a broad, steady river, not a series of punchy episodes a la Jochum. Yet one must note that EMI's sonics are not glorious. The perspective is somewhat remote, and there's a veil of murkiness over the orchestral texture; the bass line tends to be a muddy blur. Getting vivid, detailed sound has been a constant problem when recording in the Philharmonie, and since I was listening on audiophile-grade equipment, I think my assessment is fair. A side-by-side comparison with Karajan's Bruckner Fourth from the early Seventies doesn't show a huge improvement. That's too bad, but the blemish is small given the great beauty of this performance.

I disagree with editorial review. Again the superficial stereotype of Bruckner sounding like Wagner (we are not in the late 19th Century anymore); again the criticism of grandiloquence.
What we expect from an editorial review is an objective assessment on the recording and its interpreters, not a personal, petulant criticism on the composer.

This new recording of Bruckner 4 is among the best Bruckner 4th's I have heard.
I would set this recording along side Bohm or the Karajan(s) recordings. The tempos are often broad but Rattle has the vison and energy to keep the natural flow of the music. Rattle does not disrupte the music's natural flow as let say Celibidache often does.
The playing of the Berlin Philharmonic is nigh perfect and the intontion and ensemble continue to amaze. The recording is very good with a good wide range that does not confine the sound of this great orchestra.

Strongly recommended.

Rattle's performance of Bruckner's 7th with the CBSO on EMI is, in my opinion, the very best recording of that giant of a symphony. Sadly however, the magic isn't here in Rattle's live performance of Bruckner's 4th. This is a very unexceptional, even dull, performance of a great piece of music that won't win a single convert to Bruckner's music, and will likely put to sleep those who are already converted. There is no magic here, no sense of other-worldliness, no majesty or transformation. Just a pleasant run-through that is inoffensive in its way, but because this performance does not convey the sweep and majesty of this great work, it's offensive in a completely other way. Also, the sound in this recording is constricted and far below standards. Shame on you, EMI, this is pretty inexcusable.

My clear favorite recording of Bruckner's 4th is Karajan's MAGNIFICENT recording on DG with the Berlin Philharmonic which can only be classified as a "great performance" (I'm less a fan of his EMI recording of the symphony). Almost equally wonderful is Riccardo Chailly's excellent recording with the Concertgebouw on London/Decca which also comes with a bonus of AMAZING sound, and which is now only available as a part of his boxed set, unless you purchase the disc from a competing website that keeps it in its "Arkiv" (hint!). Other memorable performances but clearly a step down in worthiness include Celibidache/Munich on EMI (a very individual interpretation that is worth hearing if you're already a believer), Blomstedt/San Francisco on London/Decca, and Sawallisch/Philadelphia on EMI.