* ANTON BRUCKNER: Symphony No. 4 in E flat major, ‘Romantic’ (1888 version) – Minnesota Orchestra /Osmo Vänskä – BIS multichannel SACD BIS SACD1746 [Distib. by Qualiton] 63:21 *****:
Long thought to contain the results of the brothers Schalk’s and Ferdinand Löwe’s unauthorised emendations, this third and last version of Bruckner’s Fourth Symphony had to wait until 2004 before being included in the Bruckner-Gesellschaft, Wien’s Collected Edition, having been excluded firmly by Haas and Nowak. However, it was this version which was heard in the earlier part of the 20th century, and, despite Haas and Nowak, both Knappertsbusch and Furtwängler continued its use.
Benjamin Korstvedt, who contributes the interesting essay for this release’s booklet, prepared the 1888 version for its 2004 publication and puts forward a persuasive argument for treating it with more respect than it has experienced as the alterations are now thought to be Bruckner’s own work. The big differences occur in the third and last movements, consisting of some rewriting and excision, rescoring, including adding cymbals, and the addition of clear and painstaking markings in the form of dynamics, phrasings and articulations and tempos.
The Minnesota Orchestra and Osmo Vänskä produce outstanding and excellent results – the conductor’s conception of the architecture of the work is crystal clear, and the orchestra follows the direction as of one mind. The orchestra’s playing is mightily impressive in all departments. Divided violins help to clarify the string writing, and what a fine body they are, wind solos are excellent, and, lastly, the brass produce a very fine Brucknerian sound, rich and strong. The playing is simply glorious. Added to this mix is a magnificent recording – the space of the fine Orchestra Hall in Minneapolis is very well caught, yet all the details remain clear, the results a credit to Robert Suff and BIS.
Those firmly wedded to the 1880 version will find the differences startling on first hearing, and may remain unconvinced, for example, by Bruckner’s use of cymbals, or remain disturbed by the changes in the writing; the argument whether a composer’s first, second or third thoughts are what he really meant or is the finest version, will run and run. All I can say is, I cannot imagine a more persuasive account of the 1888 version than this, by Vänskä and his forces. Time will tell whether it emerges as more than a curiosity in the concert hall.
— Peter Joelson
