Anton Bruckner (1824-1896)
Symphony No. 4 in E-flat major, ‘Romantic’, WAB 104 (1878-80, ed. Nowak)
Tokyo City Philharmonic Orchestra/Taijiro Iimori
rec. live, 24 April 2023, Suntory Hall, Tokyo
Fontec FOCD9897 [66]
I have twice before reviewed issues of Taijiro Iimori’s Bruckner by Fontec (Symphonies 3, 4, 6 & 7 FOCD 9852-55 and No. 8 FOCD 9894); on each occasion complained in fairly strong terms about the late conductor’s habit of loudly vocalising. I have no idea whether his audiences could hear his intrusions but microphones certainly pick them up, which for me effectively rules out for repeated listening what are otherwise strong performances.
It came as no surprise to encounter exactly the same scenario here – indeed, given the previous issue by Fontec, I cannot see any justification for this new one; both recordings are live, in excellent, if rather over-hyped, too close digital sound, the latest version is marginally faster in the second movement and the finale but has virtues and flaws almost identical to those of the earlier, 1998 performance, which I found to be powerfully exciting but also crude and unsubtle in parts – and again about half way through the first movement Mr Iimori becomes very audible, as well as once more obliging singing along in the first movement coda all the way to the end in case the horn’s stridency is insufficient.
The Andante is likewise often a Mongolian throat singing aria for conductor with orchestral accompaniment – or at best, a Puccinian humming chorus. The Scherzo? Immediately – admittedly, intermittently thereafter – it’s a singalong – but the vigour of the outer sections is attractive; the Trio is once again rather enervated, but perhaps our country folk are cousins to Vivaldi’s Sleeping Drunkards … Interestingly, the conductor is finally barely perceptible as a vocal presence throughout the finale, a few well-timed intrusions apart, but that is too little too late and mostly due to the unremitting high volume which masks him; furthermore, the movement is oddly imbalanced: it begins magnificently but a glance at the Dropbox sonic visualiser showing volume peaks will confirm that the beginning and central passages are in fact consistently more energised and louder than the coda, which brings to mind carts and horses…The conclusion is rather too fast and gung-ho, lacking poise and mystery but rather effective in its sheer, bludgeoning power. Applause is ample and vociferous.
The vocal distractions are a pity because Iimori’s love and enthusiasm for the music are palpable in this performance, even if it is not among the most nuanced in terms of playing or engineering. As such, it is hardly recommendable.
Ralph Moore
Availability: HMV Japan
This review posted here by kind permission of The Bruckner Journal.
