Bruckner: Symphony No. 4
Karl Bohm / Vienna Philharmonic Orchestra
Decca 2xLP 6BB 171/2 (2015 pressing)
Maybe this isn’t place, but I’ll confide anyway. I lost my virginity in the backseat of a vintage Mercedes, parked in a dark cornfield, to Anton Bruckner. Or, to specify, whilst listening to a CD of Bruckner’s 4th Symphony, the “Romantic” (I know, right?)
Of all Bruckner’s symphonies, there’s probably not a better soundtrack to a first sexual experience. The fourth is a smorgasbord of styles, from Wagnerian excess to Vivaldi-like concerto grossi to classical chorale. Begun and completed in 1847 (it went through numerous revisions), the symphony starts with a soft E-flat major in the horn section, the intent being that you don’t realize the work has started until you find that it has. It creeps up on you like a sunrise.
Bruckner said that the beginning introduces a “medieval city – dawn” with knights, forest murmurs and bird song commingling. Then C-flat takes over, with the strings in E-flat for coloration, much of which is done in 2 plus 3 rhythms, with the various keys conflating and resolving in shades of black and light.
The 2nd movement is a ponderous Andante quasi Allegro, bringing about a dour march of sorts that leads to a jaunty Scherzo played at walking speed. The final movement, snatching anxiously at beautiful new themes as though plucking them from the ether, goes on brilliantly to reiterate gestures from the first movements, but with a far more grayscale mood and an elusive strangeness that backgrounds the entire symphony.
Michael Steinberg calls the conclusion “one of his greatest codas…grandly confident strides across huge territories of the harmonic universe.” As with all of Bruckner’s symphonies, it’s big, imposing and mysterious, and perhaps no other recordings brings out these qualities quite like Bohm and the Vienna Philharmonic Orchestra.