Germany Ebracher Musiksommer 2023 [1] – Bruckner: Philharmonie Festiva / Gerd Schaller (conductor). Ebrach Abbey, Ebrach, 20.8.2023. (KW)
Bruckner – Symphony No.4 (Third version, 1888)
There are three versions of the Fourth Symphony, plus the Volksfest finale, and a galaxy of lesser additions, reductions, variations along the way – not to mention the different mixtures and arrangements adopted by conductors. The one thing they all have in common, from Bruckner’s first version in 1874 until editions and modifications of the present day, no matter how different they may be, they are all called ‘Romantic.’ Bruckner originated and maintained the title throughout, and presumably all versions should have in common some interpretative approach consistent with that title. What Bruckner meant by ‘Romantic’ is not necessarily obvious, especially as modern usage of the word veers away from what it seems he had in mind: a Medieval castle in a rural setting, a horn call calling the knights out of the castle gate, bird song, a serenade, forest hunt etc. A bucolic vision, something maybe of Beethoven’s Pastoral, with an admixture of the adventures and heroism, the glistening armour, of knights on horseback.
But whilst they are all ‘Romantic’, the versions are very different one from another, and the music in these various scores must surely call for different approaches so as to present the particular version of the symphony at its most plausible and beautiful.
These thoughts are prompted by the special character of the performance by the Philharmonie Festiva under the baton of Gerd Schaller. Maestro Schaller’s planned performance of the Eighth Symphony, first version, in July 2022, had to be cancelled at short notice due to ill health of the conductor, so it was very heartening to see him on the podium once again, and conducting a performance that, within the parameters the ‘Romantic’ title, presented a work full of life, energy and optimism!
The two opening bars of string tremolo seemed quite brief before the horn call came in, signifying not only quite a fast tempo but also an already excited atmosphere of expectation rather than the creation of space, or the misty landscape evoked by many performances of these famous opening measures. Accordingly the horn call was not redolent of mystery and distance, and not piano as in the score, but rather mezzo forte as in the 1878/81 score, and it set the tone of the symphony ahead of us as if announcing the commencement a joyful day that would burst forth in the energy and élan of the fortissimo 1-2 1-2-3 main theme, the brass to the fore playing with vigour and precision, dramatic emphasis added by forthright drum rolls.
The performance had all the virtues we have come to expect of performances directed by Schaller, an absence of imposed exaggerations or pedantry, appropriate tempos and a total devotion to the music that enables the players to communicate the composer’s unique vision. But in this third version of the Fourth, that Romantic vision seems less exalted than elsewhere in Bruckner’s symphonic works, so that come the close of the movement the horns’ iteration of the opening theme, so stark als möglich (as strong as possible), sounded to me like a glorious summation rather than a visionary evocation that looked beyond the formal conclusion of the movement.
Having chosen a quickish tempo for the first movement, it was entirely consistent that the Andante that followed was, as often it is not, an Andante – rather than tending towards Adagio. The opening rhythmic tread on violins and violas was very clear and precisely pointed, and the cellos presented the theme beautifully but with elegant restraint. The viola’s second theme could perhaps have benefited from something a little more expressive. That characteristic voice of the violas can be especially enchanting in this passage, but I didn’t feel from where I was hearing the music that this was brought out as much as it could have been. The brass dominated the climax of the movement and, once again, this was not ‘transcendent Bruckner’ but more a traditionally effective concert work – possibly something Bruckner was after as he worked over the score to make this symphony appealing to audiences, ‘the most easily grasped and popular’ of his symphonies. Even though this version emerged around the same time as the first version of Eighth Symphony, there was nothing Feierlich langsam to be found in the atmosphere of this Andante.
The Scherzo was played quite fast, rather fast for the reverberant acoustic, the fanfares of horns and trumpets tumbling over each other – but it added up to a glorious and exciting sound. The movement had a relentless and exciting energy that one hoped would carry it over the diminuendo into the Trio and the abrupt halt to the first crescendo on the return of the Scherzo, but I continue to find these passages disruptive, being so accustomed for more than half a century to the Scherzo of the second version.
Again, in accordance with the tempo set by the first movement, the finale main tempo was quite fast, the cello and double bass quarter notes sounding urgent, the great unison falling octave and third riveting to hear, and the opening paragraph capped by a mighty cymbal clash as the theme finally lands on the tonic. In my experience, tempo changes can be problematic in performances of this version if they are too fussily observed: the music is in danger of losing momentum and coherence and can begin to sound interminable. On the occasions that Schaller chose to observe something of the many indicated tempo modifications, it was always with a degree subtlety, choosing rather to shape the line so that the Gesangsperiode melodies, for example, could blossom and flow, rather than dogmatically observe the manifold directions that follow in quick succession in the score – ein wenig zurückhaltend, belebter, noch etwas belebter, etwas gemächlich and so on. In fact, the finale was very well held together, full of drama with its drum roll crescendos, powerful tuttis, folkish interludes. The formal coherence of this movement is one of the special virtues of this version, achieved partially by the removal of the sudden intrusion of the main theme recapitulation as presented in the second version finale. The detailed orchestration of the coda is quite sophisticated, first violins and cellos and basses making almost no contribution for the first forty bars, and in the final peroration the horn call from the opening of the symphony is present only in its rhythm. With the Philharmonie Festiva on top form in the reverberant acoustic of Ebrach Abbey, it sounded magnificent.
The recording of this concert will take its place in Gerd Schaller’s and the Philharmonie Festiva’s BRUCKNER 2024 project, which will thereby include the three versions of the Fourth Symphony and the 1878 version with Volksfest finale, on Profil Edition Günter Hänssler.
Ken Ward