Anton Bruckner (1824-1896)
Symphony No 4 in E-flat major ‘Romantic’ (1878-1880 version, ed. Haas)
Symphonieorchester de Bayerischen Rundfunks/Bernard Haitink
rec. live, 19-20 January 2012, Philharmonie im Gasteig, Munich
BR Klassik 900213 [68]
Bernard Haitink first recorded this symphony as long ago as 1965 with the Concertgebouw, when his interpretation was rather swifter by just under four minutes compared with this 2012 live recording, but by 1985 with the VPO it had settled into a slightly slower pace and remained remarkably consistent over the years.
I have increasingly come to esteem Haitink’s Bruckner since his passing in 2021, finding his more recent interpretations of the Sixth (with the same orchestra and venue as per here) and Seventh superlative, and my MusicWeb colleague John Quinn and I both rated very highly his recording of this symphony under review as included in the Berlin Philharmoniker compilation box set. What JQ said there, which I quoted in full, equally applies here owing to Haitink’s consistency, so please excuse me if I quote it again:
“The symphony’s opening emerges magically; there’s an air of hushed expectancy. The expectation is more than fulfilled, for Haitink leads a reading of the movement that is distinguished in every respect. He controls the performance marvellously and seems to me to have a completely sure sense of where the music is going; indeed, there’s a sense of inevitability. The tuttis blaze thrillingly but the delivery of the more lyrical passages is just as satisfying. Much of the slow movement is relaxed and lyrical, though the relaxation is tempered by a consistent sense of purpose. The climaxes rise majestically from time to time, rather in the way that mountains might rise from a rural landscape. The last climax is especially impressive. The ‘hunting’ Scherzo is full of vitality and the Trio, when it arrives, is genial – the gentle shading of the woodwind solos at the start of the trio is a special delight. The Finale is splendid. Again, Haitink evidences a firm grip on the music’s architecture. It’s a performance of contrasts, varying between episodes where the music – and the way it is played – is delicate and very refined, and other passages where the effortless full power of the BPO is unleashed. In the long build-up to the final peroration the entire orchestra plays with sovereign control of dynamics and tension until the symphony ends in great majesty.”
In addition to his appreciative and perceptive comments, I would add that I am especially impressed by Haitink’s sure but unobtrusive control of gradual changes in dynamics and phrasal tension. The first movement could hardly be more genial yet, as John remarks, there is always a strong, even steely, sense of purpose and direction underpinning the progress of the music. It goes without saying that the BRSO is impeccable: sonorous brass, mellow woodwind, thunderous timpani, shimmering strings – they have it all. There is real weight to their sound which permits Haitink to give full rein to the climactic moments but also a delicacy and finesse which must proceed from the rapport between the orchestra and conductor; they are responsive to his every requirement for nuance. Haitink makes the climax and coda to the primarily lyrical slow movement first epic then broodingly mysterious. The Scherzo is similarly invigorating, even thrilling, contrasting beautifully with the relaxed lilt of the Trio. The finale is monumental; the sheer noise the BRSO makes is overwhelming. However, this is a long movement – one of Bruckner’s longer finales – and interest cannot be sustained just by blasting away at every tutti, and Haitink both caresses the pastoral interludes and injects quiet menace into the march passages before gradually unleashing his forces for the massive, arching, almost imperceptible crescendo beginning at 19:26, building to what is surely the most exalted conclusion in all of Bruckner’s symphonies.
The sound could not be better and there is no intrusive noise, despite this being a live composite recording. One tiny gripe: why the superfluous cardboard case, fit only for recycling? It would be better to follow the trend and switch to a digipack.
This is a Bruckner 4 to sit alongside the equally successfully live recording by Jonathan Nott and the Tokyo Symphony Orchestra which I reviewed earlier this year.
Ralph Moore
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