Anton BRUCKNER (1824-1896)
Symphony No. 4 in E-flat Major, WAB 104 (1878/1880 version, ed. Robert Haas)
Wiener Philharmoniker/Christian Thielemann
rec. live, 19-22 August 2020, Großes Festspielhaus, Salzburg
SONY 19439914112 [69:42]
Having released a complete cycle of Bruckner symphonies on both on DVD and CD with the Staatskapelle Dresden, Christian Thielemann embarked upon another, second cycle for Sony with arguably the world’s greatest Bruckner orchestra; this is the third instalment in that planned series. I reviewed the first release of the Eighth Symphony unenthusiastically, dismissing it as “workaday” and “anodyne”; reaction to the Third Symphony was in some quarters similarly lukewarm, whereas I describe it in my own review as “majestic and wholly enjoyable” – and certainly it is an improvement on his Eighth, being especially desirable if you want the 1877 edition with coda. Unfortunately, this newly released Fourth Symphony reverts to the disappointing form of the Eighth; despite the manifest beauty of the VPO’s playing, Thielemann’s interpretation lacks dynamic contrast and energy, emerging as too restrained, smoothed over and calculatedly, excessively subtle.
As with his previous recordings in Berlin, Munich and Dresden, Thielemann’s tempi are on the slow side and sometimes skirt the border between grand and ponderous, but whereas in his live Dresden recording (review), I was entirely seduced by his approach, here I remain unconvinced. While there are undoubtedly passages of compelling power, such as the restatement of the second “Bruckner rhythm” theme half way through the movement and the subsequent brass chorale, at other times, the orchestral sound lacks edge and the timpani sound too recessed. That this is deliberate, is confirmed by the notes informing us that it was Thielemann’s express desire to create an orchestral sound in Bruckner that has “a roundness without any blurriness or mistiness, a clarity with a gentle edge to it.” The second movement is decidedly more andante than allegretto, as confirmed, for example, by a timing a minute and two minutes slower than Karajan in 1975 and 1970 respectively. Although he is hardly alone in making such a choice of pacing, for me, it lacks momentum and the quite pronounced gaps between phrases accentuate that stasis. There is no doubt that the peroration which starts building in the brass three minutes before the end is mightily imposing but even there Thielemann keeps pulling back and thereby compromises its potential grandeur. The “Hunt” Scherzo is a rather listless affair, especially the Trio; the prominence Thielemann and the engineers give to the woodwind over the brass and strings permits a lighter texture and a more insouciant mood but playfulness is not his strong suit. As ever, the VPO plays impeccably but I am not swept along by this reading. The finale starts promisingly, building to a splendid first peak three minutes in, but again, soon starts to flag, causing my attention to wander. It needs a greater infusion of tension to avoid falling a bit flat, an interpretative failing carried through and typified by Thielemann’s choice to extend the final note instead of concluding sharply and dramatically on the final timpani thwack. I almost invariably find the final shimmering, muttering, three-minute crescendo in any performance of this symphony absolutely riveting, yet here I am left comparatively unmoved, Thielemann’s direction is so flaccid and deliberate – there is none of the ecstasy more dynamic interpreters inject into this wonderful music.
The live composite (presumably from two concerts) recording made in the Großes Festspielhaus is flawless; there is no audience noise and balances are ideal apart from the purposefully dampened timpani referred to above – which is not, I submit, a sound engineering issue. There is no applause. Sony irritatingly does not provide an overall timing; I have done so above.
Despite the excellence of the sound and playing, I do not find the over-refinement of this account compelling and little about it urges me to reconsider my hierarchy of great recordings, beginning with Karajan, and moving through such luminaries as Tennstedt, Schaller, Nelsons to Shimono with the Hiroshima Symphony Orchestra (review), one of my 2021 Recordings of the Year.
Ralph Moore
