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Review
Considering we are still only in May, Simon Rattle and the Berlin Philharmonic are having a prolific year. Only in March they released their marvellous recording of Brahms' Ein Deutsches Requiem. Now another German masterwork, Bruckner's Symphony No.4, the 'Romantic'. It will be interesting to see whether these two discs can do anything to silence Rattle's fierce German critics. Rattle has introduced the Berlin Philharmonic to more early music, French and British works, and generally provided eclecticism after Claudio Abbado's diet of Brahms and Mahler symphonies. However, he is still criticised for not expanding the orchestra's horizons. Conversely, he also stands accused of neglecting the German symphonic tradition, in particular Bruckner. Well, here is Bruckner for them.
Bruckner himself had a far from an easy ride as he composed what is probably his most popular work. In 1875 the Vienna Philharmonic had rejected all of it except the first movement. Furthermore the 1888 premiere of the Third Symphony was disastrous, with audience members walking out. However, after years of anxious revisions, Symphony No.4 was rapturously received in 1881. Bruckner labelled it the 'Romantic', alluding to it's depiction of an almost Wagnerian world of medieval castles and hunts in leafy woodland glades; everything that would appeal to his public both then and now.
Rattle has been credited with introducing a greater transparency to the Berlin Philharmonic's sound and, in this symphony full of changes in texture and orchestration, that strength is played to the full. From the opening bars and first duplet-plus-triplet subject, there is the feeling of barely contained anticipation and tension, leading to triumph as the orchestra ushers the listener in to Bruckner's fairytale world. Throughout the symphony, the orchestra displays it's historic richness. The lack of penetration Rattle has been accused of is nowhere in evidence here. The Andante continues to deliver, with its warm, sonorous processional. Finally, the coda of the glorious fourth movement is as it should be; stirring, edge-of-the-seat stuff, with a satisfying climax. This is Rattle at his best. --Charlotte Gardner
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Most Helpful Customer Reviews
6 of 7 people found the following review helpful:
4.0 out of 5 stars
Among the best recent Bruckner 4s,
By Alexander Leach (Shipley, West Yorkshire United Kingdom) - See all my reviews (VINE VOICE) (REAL NAME)
This review is from: Symphony No.4-Romantic (Audio CD)
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.
3 of 5 people found the following review helpful:
4.0 out of 5 stars
Another stimulating Rattle/BPO recording.,
By
This review is from: Symphony No.4-Romantic (Audio CD)
Simon Rattle has a way of making music that enables you to rediscover a piece you thought you knew inside and out. However, there are occasions where, his recording having successfully syringed your ears, you return gratefully to the older, more venerable version/s you already have and leave Rattle's to languish on the shelf. This is another one of those.As with this Bruckner Seven, there is an admirable concern for structure, lucidity, grandeur; unfortunately, one hankers after a certain warmth, a generosity of spirit. The Romantic can sound refreshingly al fresco in the hands of Haitink, Jochum, Celibidache. Rattle conveys a remarkable sense of stillness in the andante, but ultimately one is left only half full at the end. Having said that, he's way better than Klemperer (EMI) and so it is to admirers of that old '60s maestro that I recommend this new version.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
3.4 out of 5 stars (10 customer reviews) 13 of 16 people found the following review helpful:
5.0 out of 5 stars
Best Recorded Recent Bruckner 4th Symphony, BUT NOT My Primary Recommendation,
By John Kwok - Published on Amazon.com
This review is from: Symphony No.4-Romantic (Audio CD)
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.). 15 of 19 people found the following review helpful:
2.0 out of 5 stars
sleek, but no Bruckner in sight,
By Kostas A. Lavdas - Published on Amazon.com
This review is from: Symphony No.4-Romantic (Audio CD)
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? 3 of 4 people found the following review helpful:
1.0 out of 5 stars
"Exciting, Expressive, and Evocative" - stuffing to match the turkey,
By Bernard Michael O'Hanlon - Published on Amazon.com
This review is from: Symphony No.4-Romantic (Audio CD)
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. |
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