Bruckner: Symphony No. 4 "Romantic" (CD review)

Also, Wagner: Lohengrin Prelude. Andris Nelsons, Leipzig Gewandhaus Orchestra. DG 479 7577.

Begin rant:
I may be the only the person left on the planet who is not 100% enamoured of live recordings. I keep reading reviews of live recorded performances that say how wonderful the sound is, how the audio engineers should be nominated for Grammys, and so forth. Sorry; I don't hear it. Even when a live recording is done well, as this one is with the applause edited out, I often find the microphones too close, the sound too mechanical and flat, and audience presence still too noticeable, especially during quiet moments. Yes, I understand the economic needs for recording live, and I respect a conductor's desire to capture the spontaneity of a live performance; but it doesn't mean I have to like the sound, which in almost every case would have been better if done in a studio.
End rant.

Latvian conductor Andris Nelsons is, as of 2018, the Music Director of the Leipzig Gewandhaus Orchestra, one of the oldest and most prestigious orchestras in the world. In 2017 Maestro Nelsons embarked on a Bruckner symphony cycle with the Gewandhaus players, and the current Fourth Symphony is the third such effort (following the Third and Seventh Symphonies). Critics received his previous releases favorably, and I see no reason why they wouldn't do the same here. It's a mature account of what is possibly Bruckner most-popular music.

Anton Bruckner (1824-1896), Austrian composer and organist, wrote the Symphony No. 4 in E flat major "Romantic" in 1874, revising it several times before his death. (Maestro Nelsons uses the familiar 1878-80 revision edited by Leopold Nowak in 1953). No doubt, audiences like the work's abundance of Romantic, programmatic qualities. Bruckner was a deeply spiritual man, and his symphonies illustrate the point. The composer goes further by telling us what each of the symphony's movements represents, from knights riding out of a medieval castle through the mists of dawn to the sounds of the forest and birds, to a funeral, then a hunt, complete with horn calls, and finally a brilliant culminating summation.

Andris Nelsons
Still, the real question about any new recording is whether the conductor brings to the performance anything new, anything we haven't heard before, anything that might set it apart from the many fine recordings that have come before it. To my mind and ear, we already have fine performances by Otto Klemperer (EMI), Karl Bohm (Decca), Eugen Jochum (DG and EMI), Gunther Wand (RCA), Herbert von Karajan (DG), and Georg Tintner (Naxos), among others. So, does Nelsons compare? Maybe.

In the first movement Bruckner offers us a vision of Nature, and the composer's several scenic landscapes should remind us of how much Bruckner admired Beethoven and Wagner. Here, according to the composer, "...after a full night's sleep the day is announced by the horn." Other authorities have argued that the composer wanted us to see a morning breaking, the mists giving way to dawn around a medieval castle, and an army of knights bursting out from the castle gates in a blaze of glory. Whatever, Nelsons does a good job establishing the atmosphere and maintaining the mystery of the score, accenting the mystical side of the music rather than the purely programmatic.

The second-movement Andante is a serenade, sometimes described as representing a young lad's amorous but ultimately hopeless longings and expressions. Nelsons, however, says that "This movement is like a song or a prayer" and it reveals "a genuine, intimate connection with God." Fair enough. I've always thought it sounded elegiac, halfway between a nocturne and a funeral march, the composer indicating he wanted something between a moderately slow but still comfortably forward pace (Andante quasi Allegretto). Nelsons, in an apparent effort to accommodate his own view of things, adopts a very slow tempo for it, more like an adagio. Where most conductors take about thirteen or fourteen minutes to cover the movement, Nelsons goes over seventeen. The listener may either appreciate the added beauty or find the length interminable. I can't say I preferred it over more traditional readings, but, then, I may simply have to get used to it.

The lively third-movement Scherzo Bruckner teasingly called "a rabbit hunt," and it should build a proper momentum as it goes forward. I thought Nelsons was at his best here. The music rollicks.

The Finale opens with a heroic theme, then works its way into a more idyllic second subject, eventually reworking both themes into a closing statement. This movement begins rather ominously, with dark clouds overhead, leading to a thunderstorm; however, the storm soon breaks and gives way to variations on the symphony's heroic opening music and a summation of all the parts. If you're wondering what it means, not even Bruckner was sure. He said, "...even I myself can't say what I was thinking about at the time."

Nelsons tells us that "The music is like a glimpse of heaven," which may explain why he takes the final movement so deliberately. As with the second movement, the listener may enjoy the conductor's pace or find it too fragmented or sluggish. I would have liked a bit smoother forward progress and a bit more resolute determination.

Along with the symphony is the piece that opens the program, Richard Wagner's Prelude to Act I of Lohengrin, premiered in 1850. Nelsons, of course, wants us to see (hear) for ourselves the influence of Wagner's music on Bruckner, particularly the ethereal, religious elements, so, given his approach to the symphony, it's not a bad way to begin things. He handles it well.

Executive producer Sid McLauchlan and recording producer and engineer Everett Porter recorded the music live at the Gewandhaus Leipzig in May 2017. As I said at the start, one can take or leave a live recording. My own prejudice is to leave it, even when done as well as here. Like most other live recordings, in this one the microphones are a little close, resulting on the positive side in a reasonably detailed response with very wide dynamics and on the negative side a somewhat forward sound picture with an emphasis on the upper midrange and some odd instrumental relationships. Take the opening of the symphony, for instance. The horn solo appears admirably well focused, while one can barely hear the orchestral accompaniment. Otherwise, the sound is fairly warm (if a tad hard, edgy, and pinched in louder passages), ambient, and realistic. Still, it doesn't quite capture the Gewandhaus's characteristically dark, golden glow as well as I've heard it in many studio productions.


To listen to a brief excerpt from this album, click below:

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

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It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa