It was an extraordinary concert that conductor Bernard Haitink (1929–2021), who had just turned 90, gave himself as a birthday present, so to speak: Anton Bruckner's Symphony No. 4 in E-flat Major (WAB 104), "Romantic Symphony," performed by the London Symphony Orchestra at the Barbican Centre in London. Haitink's strikingly slow conducting allows the structure of the romantic symphony to shine through with crystal clarity, and despite the large orchestra, even the quietest passages captivate with their extreme precision. The recording features the second version of the Fourth Symphony from 1877-78, with the finale revised by Bruckner in 1880 (complete arrangement by Nowak, 1953).
(00:00) I. Bewegt, nicht zu schnell
(22:07) II. Andante quasi Allegretto
(38:39) III. Scherzo. Bewegt – Trio. Nicht zu schnell, keinesfalls schleppend
(50:48) IV. Finale. Bewegt, doch nicht zu schnell
Anton Bruckner's (1824–1896) symphonic oeuvre comprises no fewer than 11 symphonies, which are characterized by their long performance times, and larger-than-average orchestra, as well as a structure that can be difficult to understand on first hearing. Added to this is a sonic landscape in which chorale-like or hymn-like passages intertwine with evocations of nature. Bruckner’s symphonic work emerged against a backdrop of debate over the symphony’s relevance after Ludwig van Beethoven. Some, like Richard Wagner, considered the traditional symphony increasingly obsolete and focused instead on his music dramas, for which he developed the idea of the "Gesamtkunstwerk," or "total work of art." Meanwhile, other Romantic composers explored alternative forms, such as the symphonic poem, as a way to expand expressive possibilities beyond the classical symphony.
In much of Romantic music, symphonic works were often based on texts or extra-musical ideas, turning the symphony into program music. Anton Bruckner, however, rejected this approach: his symphonies were intended as absolute music, speaking entirely for themselves. The Austrian Romantic composer generally adhered to the traditional four-movement structure and the motivic-thematic sonata form, but in his own distinctive way. He softened the classical tension between the two main themes that typically drives dramatic development in a symphonic movement. Instead, Bruckner’s themes unfold organically, in a manner reminiscent of his concept of "infinite melody." His symphonic movements often alternate between sonata form and variation form. Both formally and harmonically, Bruckner expanded on elements of Richard Wagner’s style and served as a major influence on the symphonic approach of Gustav Mahler.
Symphony No. 4 was composed in 1874, but was revised significantly between 1878 and 1880. The premiere took place on February 20, 1881, in Vienna and was a major success — the first significant triumph for a Bruckner symphony, which he reportedly described laconically as "astonishing." Part of the appeal may have come from the non-musical inspirations behind the Fourth Symphony. Bruckner shared vivid images of the work with friends: a medieval town where morning wake-up calls echo from the towers (evoked by the horns at the opening), the rustling of the forest and birdsong (in the first movement), a hunting scene (the scherzo), and a dance during the hunt’s meal (the trio at 43:37). Bruckner himself coined the epithet "Romantic" for this symphony. Yet, despite these evocative associations, the Fourth’s grand scale means it cannot be classified as a program symphony or a symphonic poem.
Interestingly, Anton Bruckner never married. He reportedly made numerous proposals to young women, but none were successful. While working on his 4th Symphony, he is said to have remarked that he couldn't get married because he needed to finish composing it.
Text: Rita Kass
© 2019 C Major Entertainment
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