Following up their release of Brahm's Ein Deutsches Requiem, Sir Simon Rattle and the Berliner Philharmoniker continue to celebrate the orchestra's 125th year with an exploration of the 19th-century Germanic greats. On... more » this recording they take on Bruckner's mighty Fourth Symphony, an uplifting spiritual journey across a huge musical landscape which commands the listener's attention and promises to remain in memory long after the final chords have died away. Speaking of the individuality and overwhelming power of Bruckner's music, Rattle had this to say: "It's as though one's caught up in a gigantic wave...which simply will not stop until the last note and in fact when the last note is sounded, very often the audience simply doesn't applaud because there's a feeling to it still going out into space..." Tracklisting: Anton Bruckner (1824-1896)
Following up their release of Brahm's Ein Deutsches Requiem, Sir Simon Rattle and the Berliner Philharmoniker continue to celebrate the orchestra's 125th year with an exploration of the 19th-century Germanic greats. On this recording they take on Bruckner's mighty Fourth Symphony, an uplifting spiritual journey across a huge musical landscape which commands the listener's attention and promises to remain in memory long after the final chords have died away. Speaking of the individuality and overwhelming power of Bruckner's music, Rattle had this to say: "It's as though one's caught up in a gigantic wave...which simply will not stop until the last note and in fact when the last note is sounded, very often the audience simply doesn't applaud because there's a feeling to it still going out into space..." Tracklisting: Anton Bruckner (1824-1896)
Symphony No.4 in E-Flat Major "Romantic"
1. Bewegt, nicht zu schnell
2. Andante quasi allegretto
3. Scherzo- trio
4. Finale
"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?
"
Best Recorded Recent Bruckner 4th Symphony, BUT NOT My Prima
John Kwok | New York, NY USA | 07/26/2007
(5 out of 5 stars)
"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.)."
"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."
Rattle finds sensitive beauty in Bruckner
Santa Fe Listener | Santa Fe, NM USA | 10/03/2007
(5 out of 5 stars)
"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."
Dull and Bland.
Carlos Quintero | Caracas, Venezuela | 03/22/2010
(3 out of 5 stars)
"
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."
Track Listings (4) - Disc #1
