Orchestre de la Suisse Romande, Marek Janowski - Bruckner: Symphony No. 4 in Eb Major 'Romantic' (2013) [Hi-Res]
![Orchestre de la Suisse Romande, Marek Janowski - Bruckner: Symphony No. 4 in Eb Major 'Romantic' (2013) [Hi-Res]](https://www.dibpic.com/uploads/posts/2020-12/1609134870_marek-janowski-bruckner-symphony-no_-4-in-eb-major-romantic-2013.jpg)
BAND/ARTIST: Orchestre de la Suisse Romande, Marek Janowski
- Title: Bruckner: Symphony No. 4 in Eb Major 'Romantic'
- Year Of Release: 2013
- Label: PentaTone
- Genre: Classical
- Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:03:27
- Total Size: 264 mb / 1.04 gb
- WebSite: Album Preview
Tracklist
01. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": I. Bewegt, nicht zu schnell
02. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": II. Andante quasi allegretto
03. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": III. Scherzo. Bewegt
04. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": IV. Finale. Bewegt, doch nicht zu schnell
![Orchestre de la Suisse Romande, Marek Janowski - Bruckner: Symphony No. 4 in Eb Major 'Romantic' (2013) [Hi-Res]](https://www.dibpic.com/uploads/posts/2020-12/1609134863_marek-janowski-bruckner-symphony-no_-4-in-eb-major-romantic-2013-back.jpg)
I’m irresistibly tempted to say the porridge here is just right, except for the fact that when you deal with Bruckner, there are far more than three bears at stake and a lot more stirring to be done over the stove. Performances of the Bruckner Fourth range from the mystical (think Celibidache) to the craggy, or at least extremely direct (think Blomstedt). Less often do we suppose the music to be graceful, rich, and beautiful as a Brahms symphony. But that is what we have here. This is an unexpectedly wonderful CD. I find it the most beautiful Bruckner Fourth I have ever heard, marginalizing even Kertész’s glowing one in memory.
Marek Janowski has become visible in recent years as a ubiquitous guest conductor, touring with mostly German repertory, which he performs with a remarkable sense of balance and formal integration. He is not generally a passionate conductor, willing to break the musical line to make a point. But he shapes everything in a fluid manner, which sets him apart from Blomstedt, Wand, and from the historical line of clipped phrase endings brought to us by Toscanini and Szell. I first took notice of him a few decades ago on a trip to Europe, encountering on Radio France the most rounded and velvety broadcast of the Brahms Haydn Variations that I had ever heard. In the years since, my assessment of Janowski has risen and fallen with the CDs he has released, some of which come across as emotionally neutral. His recent Brahms recordings with the Pittsburgh Symphony have tended to be fast and rather dry-eyed, his Strauss Alpine Symphony a bit short on mystery, but his Macbeth white hot and the one to seek out.
Similarly, Janowski’s Bruckner cycle with the Orchestre de la Suisse Romande does not always probe for brooding depths in the more apocalyptic works. But this Fourth is just about ideal, unfolding naturally and simply, every phrase more ravishing than the last. Given the history of the Suisse Romande in French music (and little else for decades), one is astonished to experience such idiomatic Brucknerian sonority from a Francophone orchestra. Janowski’s earlier recording of this symphony for Virgin with Radio France was marred by just the sort of nasal and blaring brass sound one would fear from traditional French players. But the sound of the Suisse Romande today is golden, beautifully matched, and virtuosic. And the strings are luminous and accurate in a way Ernest Ansermet would never have achieved. This is now an orchestra fully of the first rank. Victoria Hall, which verges to the eye on being a too-muchness of Victorian kitsch, sounds here like one of the great shoebox recording sites, if PentaTone’s miking is any judge. The listener is in an ideal seat for Bruckner, a bit towards the back of the hall. And the surround channels supply a glowing sense of space. There is no edge; nothing grates on the ear.
The performance, itself, is on the swift, flowing side, like Kertész, who is even two minutes faster. I do miss in it one touch we get only from Barenboim: the timpani at the conclusion of the first movement’s development chorale—a nice touch. But Janowski otherwise shapes this section beautifully, surrounding the chorale more than usual with filigree from the cellos. The slow movement usually is what kills conductors—and the audiences forced to plod through it with them. The movement essentially is about walking, stopping, breathing, and then walking on. The sense of pulse must carry it more than any melody. Most conductors miss this, attempt too much, and give the listener an out-of-shape Bruckner, lumbering forward and pausing to deal with what sounds like near-death emphysema. Here, all is as natural as a performance of Beethoven’s Pastorale . The scherzo is nimble and the brass fruity. There are many ways to make this movement whoop appropriately at the end of the hunting call, and these players are as good as any you will find. And Janowski phrases the three great declamations at the beginning of the Finale with a remarkable set of slithers that give them real profile and contour.
It is an unusual experience to emerge from a Bruckner performance—moved and satisfied—without feeling that one has also been assaulted. Shostakovich and Bruckner performances tend to suffer from a public address system syndrome. But here all comes together: thorough, extremely interesting notes, perfect hall, perfect brass and string sound. A Kapellmeister transcends himself—and the effect is emotional nourishment.
01. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": I. Bewegt, nicht zu schnell
02. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": II. Andante quasi allegretto
03. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": III. Scherzo. Bewegt
04. Symphony No. 4 in E-Flat Major, WAB 104 "Romantic": IV. Finale. Bewegt, doch nicht zu schnell
I’m irresistibly tempted to say the porridge here is just right, except for the fact that when you deal with Bruckner, there are far more than three bears at stake and a lot more stirring to be done over the stove. Performances of the Bruckner Fourth range from the mystical (think Celibidache) to the craggy, or at least extremely direct (think Blomstedt). Less often do we suppose the music to be graceful, rich, and beautiful as a Brahms symphony. But that is what we have here. This is an unexpectedly wonderful CD. I find it the most beautiful Bruckner Fourth I have ever heard, marginalizing even Kertész’s glowing one in memory.
Marek Janowski has become visible in recent years as a ubiquitous guest conductor, touring with mostly German repertory, which he performs with a remarkable sense of balance and formal integration. He is not generally a passionate conductor, willing to break the musical line to make a point. But he shapes everything in a fluid manner, which sets him apart from Blomstedt, Wand, and from the historical line of clipped phrase endings brought to us by Toscanini and Szell. I first took notice of him a few decades ago on a trip to Europe, encountering on Radio France the most rounded and velvety broadcast of the Brahms Haydn Variations that I had ever heard. In the years since, my assessment of Janowski has risen and fallen with the CDs he has released, some of which come across as emotionally neutral. His recent Brahms recordings with the Pittsburgh Symphony have tended to be fast and rather dry-eyed, his Strauss Alpine Symphony a bit short on mystery, but his Macbeth white hot and the one to seek out.
Similarly, Janowski’s Bruckner cycle with the Orchestre de la Suisse Romande does not always probe for brooding depths in the more apocalyptic works. But this Fourth is just about ideal, unfolding naturally and simply, every phrase more ravishing than the last. Given the history of the Suisse Romande in French music (and little else for decades), one is astonished to experience such idiomatic Brucknerian sonority from a Francophone orchestra. Janowski’s earlier recording of this symphony for Virgin with Radio France was marred by just the sort of nasal and blaring brass sound one would fear from traditional French players. But the sound of the Suisse Romande today is golden, beautifully matched, and virtuosic. And the strings are luminous and accurate in a way Ernest Ansermet would never have achieved. This is now an orchestra fully of the first rank. Victoria Hall, which verges to the eye on being a too-muchness of Victorian kitsch, sounds here like one of the great shoebox recording sites, if PentaTone’s miking is any judge. The listener is in an ideal seat for Bruckner, a bit towards the back of the hall. And the surround channels supply a glowing sense of space. There is no edge; nothing grates on the ear.
The performance, itself, is on the swift, flowing side, like Kertész, who is even two minutes faster. I do miss in it one touch we get only from Barenboim: the timpani at the conclusion of the first movement’s development chorale—a nice touch. But Janowski otherwise shapes this section beautifully, surrounding the chorale more than usual with filigree from the cellos. The slow movement usually is what kills conductors—and the audiences forced to plod through it with them. The movement essentially is about walking, stopping, breathing, and then walking on. The sense of pulse must carry it more than any melody. Most conductors miss this, attempt too much, and give the listener an out-of-shape Bruckner, lumbering forward and pausing to deal with what sounds like near-death emphysema. Here, all is as natural as a performance of Beethoven’s Pastorale . The scherzo is nimble and the brass fruity. There are many ways to make this movement whoop appropriately at the end of the hunting call, and these players are as good as any you will find. And Janowski phrases the three great declamations at the beginning of the Finale with a remarkable set of slithers that give them real profile and contour.
It is an unusual experience to emerge from a Bruckner performance—moved and satisfied—without feeling that one has also been assaulted. Shostakovich and Bruckner performances tend to suffer from a public address system syndrome. But here all comes together: thorough, extremely interesting notes, perfect hall, perfect brass and string sound. A Kapellmeister transcends himself—and the effect is emotional nourishment.
Classical | FLAC / APE | HD & Vinyl
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