This early '60s recording has its admirers, but they're the Brucknerian equivalent of people who want Boulez for Mahler: people who don't really love Bruckner.
England's never had a strong Bruckner tradition and the sound of the vintage Philharmonia scarcely suits the music. Klemperer recorded a number of Bruckner symphonies in London, including an overrated Sixth and what I'm told are highly suspect versions of 8, 7 and 5. No.4 is the 'Romantic', but you won't find much in this performance to justify that appellation.
Klemperer's attitude is distinctly matter-of-fact, brusque, practical, like an impatient father hurrying the kids into the car. Come on, chop-chop! Just sample the introduction, where Bruckner's ppp tremolo doesn't even register before the horn comes barging in. Now turn to, say, Celibidache Bruckner: Symphony No.4
and the string sound emerges from silence more magically than any other performance, the horn solo like the voice of nature itself, echoing through the forest. And that's just the start. Celi's is a radical reinterpretation, so for something more mainstream but shorn of Klemperer's desire to get it all over and done with, try Gunter Wand Bruckner: Symphony No. 4
or for something contemporary to Klemperer, Bernard Haitink's vernal RCO account Bruckner: The Symphonies
. By comparison, Klemperer is as dry as dust.
Mess up the intro and the whole performance is wrecked. And he does.