Classic Music: Bruckner Symphony No. 4, 'Romantic'

Bruckner Symphony No. 4, 'Romantic'
(1878/80 version, ed. Benjamin M. Korstvedt)
The Cleveland Orchestra
Conducted by Franz Welser-Möst
Recorded live in Mandel Concert Hall
at Severance Music Center in Cleveland, Ohio,
on March 14, 16, and 17, 2024

https://www.clevelandorchestra.com/discover/recordings/

Last Wednesday marked the 200th anniversary of the birth of Anton Bruckner, a composer whose symphonies I enjoy, as well as being a fan of his choral works, and especially the motets and organ pieces. 

So, to mark the anniversary this week, I am delighted to review his fourth symphony, given the sobriquet 'Romantic,’ which was premiered on February 20, 1881, with Hans Richter conducting the Vienna Philharmonic.

This disc, recorded live in Mandel Concert Hall at Severance Music Centre in Cleveland, Ohio, in March of this year, showcases such wonderful colour from the Cleveland Orchestra under Franz Welser-Möst's baton as they perform the 1878/80 version, ed. Benjamin M. Korstvedt.

Thomas May’s notes set the scene. As he writes, the Fourth Symphony’s much-admired opening acquires something of its mysterious power by incorporating a minor-key inflection into the horn call’s simple, otherwise major-key harmonic palette, all set against a pregnant backdrop of trembling strings.

The horn's prominence is a hallmark of the rest of the symphony—the instrument almost looks like a protagonist in its own right. Welser-Möst carefully guides the players to add a fine sheen to the performance as they fully utilise the brass section in Bruckner's fourth symphony.

The strings were excellent throughout, with a rhythmic freshness and a pleasant pace. Sometimes conductors can let the orchestra take their foot off the pedal and let the music wilt, but not here; Welser-Möst ensured the orchestra's attention was absorbed, thus creating an attentive listening experience.

The third movement’s 'hunting' Scherzo, with its overlapping 'Bruckner rhythms' (a duplet-followed-by-triplet pattern) in horns and brass, instils a rush of energy to complement the slow motion of the preceding march. It is a thrilling opening where the brass sections unleash their force with a rich, resonant tone. The quieter element of the movement was delightful and delicate.

May once again superbly describes the Finale’s titanic opening as Bruckner at his most confident, evoking a sense of mystery similar to what we encountered at the beginning of the work. The main theme coalesces against thundering timpani, while the fundamental contrast of epic against relaxed nature returns once more in the second theme group. By the time Bruckner arrives at the stunning final coda, writes the music commentator Robert Simpson, the effect is altogether different from that of “the accumulated energy of a vividly muscular process (as in the classical symphony)”, or of “the warring of emotive elements (as in the purely romantic work),” but instead reveals “the final intensification of an essence.”

Welser-Möst tackles the challenging last movement with poise, managing the complex tempi with expertise, and throughout creating taut lines and an intensity that the lower strings bring out.

The Cleveland Orchestra is tremendously well-balanced, creating the space for this symphony to make an impact.