Bruckner Symphony No.4 Romantic

Symphony No. 4 in Eb major ‘Romantic’ (Edition Haas 1878/80)
Anton Bruckner (1824-1896)

The notable conductor Günter Wand has described Bruckner as “the most important symphonist after Beethoven”. However in his own lifetime he was largely misunderstood and only in more recent years has he started to get the recognition he deserves as one of the greatest 19^th century composers.

Anton Bruckner was born on 4^th September 1824, the son of the schoolmaster in the quiet village of Ansfelden near Linz, Austria. He soon showed an exceptional musical ability and at the age of only ten-years, deputised for his father on the organ in the local church. He also started composing at this time. Following the death of his father when he was thirteen, Anton was sent to the monastery of St. Florian as a choirboy. This highly influenced him – he remained a devout Catholic for his whole life. Following training to be a schoolteacher like his father, he realised that his vocation lay in music and he successfully auditioned to be organist at Linz Cathedral. In Bruckner’s own lifetime he was recognised as a leading organ virtuoso, legendary for his improvisations, even visiting London in 1871 to give recitals in the Royal Albert Hall and Crystal Palace.

Bruckner idolised Wagner and his music which resulted in him being considered by many as a ‘Wagnerian Symphonist’. However, although he did follow Wagner in having brass rich textures in his music – it is completely different, in that he tends to write in monolithic blocks as if he was using different registers on the organ. His music also shows considerable influence of sacred music and that of Schubert. In fact his Romantic Symphony can be considered a natural successor to Schubert’s Great C Major Symphony No. 9.

Initially Bruckner concentrated on composing sacred choral works, not composing his first symphony until he was 41 years old after years of obsessive studying. Nominally, Bruckner composed nine symphonies (the last unfinished), but two early ones were discarded (now known as 0 and 00). He also had the habit of revising completed symphonies, so most are in multiple versions. To add to these complications, his pupils, Schalk and Löwe, took it upon themselves (with and without Bruckner’s permission) to cut and re-orchestrate his symphonies to make them more ‘Wagnerian’ in the mistaken believe that this would gain them more popularity and performances. Some order was only restored from the 1930’s when Professor Haas and later Novak of the Austrian National Archive compiled definitive editions of the symphonies. All of Bruckner’s symphonies are on a large scale, most lasting over an hour and provide a uniquely spiritual experience.

Symphony No. 4 was initially composed in 1874, but in 1878 Bruckner completely replaced the third movement Scherzo and in 1880 extensively revised the remainder, in particular the 4^th movement. It was in this final version that it had its first performance on 20^th February 1881 by the Vienna Philharmonic conducted by Hans Richter (the same conductor who would premier Elgar’s Enigma Variations 17 years later). It proved a huge success with Bruckner being called to the stage by the enthusiastic audience several times to take bows. The unsophisticated Bruckner was so ecstatic that he pressed a small tip on Richter saying, “Take this and drink my health with a glass of beer”. Richter was so touched, that he wore the coin on his watch chain for the rest of his life.

Bruckner’s Romantic Symphony has always been one of his most popular. The name Romantic is Bruckner’s own – maybe because the symphony makes extensive use of the French Horn, which in German is called Waldhorn. Wald means forest in German. Therefore the Waldhorn became symbolic of the ‘romantic’ ideal in German speaking countries.

I. Bewegt, nicht zu schnell – The symphony starts with one of the most magical openings in all music; a solo horn calls over shimmering strings. These horn calls are said to be based on the whistling of an Austrian steam train – something of which Bruckner would have been very familiar, as he like Dvořák was a railway enthusiast. You can almost imagine the calls echoing around the mountains. The woodwind soon echo the horn in a crescendo which leads to a fortissimo passage for full orchestra playing a two, plus three rhythm which is known as the ‘Bruckner rhythm’ as it is so characteristic of the composer’s music. Suddenly the music quietens and continues in a mellow Schubertian style. Bruckner said that the comments by the violins represent the call of the titmouse, while the viola melody expressed his own happiness at hearing the sounds of nature. The music continues to a radiant brass chorale. After further developments, the movement ends triumphantly with a variation of the opening horn call being blazed out by the whole brass.

II. Andante, quasi allegretto – The second movement starts with a pastoral song for the cellos. It is in the tempo of a funeral march, but the feel is more of a leisurely walk in the Austrian countryside – occasionally pausing to admire the scenery and with just the occasional storm cloud threatening. Although moving, the view of the mountains only slowly changes. It makes a wonderful meditation in the middle of the work.

III. Scherzo: Bewegt - Trio: Night zu schnell, keinesfalls schleppend – We are soon moving in the dramatic hunting scherzo once again led by the horns sounding out the ‘Bruckner rhythm’ – you can feel the thrill of the chase! There is a gentle Ländler trio interlude played by the oboe and clarinet which Bruckner said was the “dance tune at mealtime on the hunt”, before the hunting once again resumes.

IV. Finale: Bewegt, doch night zu schnell – The finale is the longest movement at over 20 minutes. In it Bruckner skilfully recalls and builds on the themes of the previous movements. Several new ideas are also introduced such as the subject for woodwind and horns near the opening of the movement. After an impressive statement for full orchestra and a delicate theme for flute and clarinets in octaves over a counter melody for violas, Bruckner concludes his magnificent ‘cathedral in sound’ affirmatively in Eb major.

Programme notes by Jonathan Hodgetts