Disc 1

Symphony No. 4 in E-flat Major, "Romantic" (Version 1878-81: Cohrs A04B)
- Bewegt: nicht zu schnell (1881)
- Andante quasi Allegretto (1881)
- Scherzo. Bewegt - Trio. Nicht zu schnell. Keinesfalls schleppend - Scherzo da capo (1881)
- Finale. Bewegt: doch nicht zu schnell (1881: abridged)

Disc 2

Symphony No. 4 in E-flat Major, "Romantic" (Cohrs A04B)
- [Discarded] Scherzo. Sehr schnell - Trio. Im gleichen Tempo - Scherzo da capo (1874/rev. 1876: Cohrs A04B-1)
- [Discarded] Finale ("Volksfest"). Allegro moderato (1878: Cohrs A04B-2)
- Andante quasi Allegretto (1878: extended initial version)
- Finale. Bewegt: doch nicht zu schnell (1881: unabridged)

This new, live recording of the Symphony No 4 in E-flat Major, "Romantic" by Anton Bruckner (1824-1896) will most certainly appeal first and foremost to any and all Bruckner "completists" out there. During my many years in classical music retail I've come across a few, some of which who actually seemed to consider the music of Anton Bruckner to be some type of religion. One in particular stands out because he would come into the store at least once or twice a week, head straight to the Bruckner section (never purchased anything else), acquire whatever titles were not there on his previous visit, and sometimes place special orders for historical recordings by conductors like Knappertsbusch or Hans Rosbaud. Never before or since have I witnessed such devotion and allegiance to the music of one single composer. But I digress ....

This edition of the symphony and its discarded Scherzo and Finale by Benjamin-Gunnar Cohrs was published in 2021. The world premiere performance with Sir Simon Rattle and the LSO is a must-listen for lovers of Bruckner's music, and gives us a glimpse into the composer's untold musical thoughts. {Booklet Notes}

It's a well-known fact that Anton Bruckner revisited and revised his symphonies many times over, and therefore left the door open for different editions to surface over the years, including the Grandjean, Brosche, Doblinger, Carragan, Haas, Nowak, Korstvedt, and Benjamin-Gunnar Cohrs editions amongst others. Of course some of these were published simply for aesthetic or cosmetic reasons, citing possible "errors" or "omissions" found in previous editions, whilst others altered the orchestration, switched passages around, and even added what were perceived as missing elements. In my opinion, there was a rationale to Bruckner's obsessive-compulsive behavior, and after ruminating for a few years over his own music, I believe his final thoughts to be the absolute, conclusive versions of his symphonies. As good as the 'discarded' or 'extended' movements of the Symphony No. 4 may be, the final 1881 edition makes for a much more cohesive experience and persuasive account. A case in point is the work's impressive Scherzo movement. The whole symphony would simply not be the same iconic symphonic statement it is, had Bruckner decided to keep its original version.

As far as this 'live' Simon Rattle account is concerned, it's reverently performed and presented in opulent sound. So much so that it comes across as being slightly corpulent and plump, when Bruckner's music could benefit from a bit more astringent muscle. For example, when compared to this Herbert Blomstedt recording, the Scherzo's opening horns in this LSO account sound a bit muddled and not as clearly defined and accurate as in Blomstedt's. And the evocative solo horn statements that open the first movement, do not sound distant enough under Rattle's direction. But with that said, I would still highly recommend this recording for the charged energy a 'live' performance brings to the table, as well as the value in hearing Bruckner's relinquished ideas.