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Brahms: Symphony No. 1 - Martinu: Symphony No. 4

ICA Classics

$11.99 ~~$14.99~~ Save 20% Feb 26, 2013

With stunning accounts of Brahms and Mahler, this recording marks an exciting, new relationship between ICA Classics and the SWR in Stuttgart, and it is the first release of this material outside Japan. 'Klaus Tennstedt's concerts with the LPO at the Festival Hall were among the greatest performances I have ever heard' (Sunday Times review of ICAC 5033, Mahler: Symphony No.3)

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Brahms: Symphony No. 1 - Martinu: Symphony No. 4
ICA Classics Feb 2013
CD
~~$14.99~~ $11.99

Brahms: Symphony No. 4 / Skrowaczewski, Deutsche Radio Philharmonie

Oehms Classics

$14.99 Sep 24, 2013

The present recording of the Fourth Symphony of Johannes Brahms is the last one produced by OehmsClassics with Stanislaw Skrowaczewski. Thus many cycles lie dormant on CD and no more will follow. Nonetheless, a special birthday present for the phenomenal maestro is being prepared.

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Brahms: Symphony No. 4 / Skrowaczewski, Deutsche Radio Philharmonie
Oehms Classics Sep 2013
CD
$14.99

Tchaikovsky: Symphony No 4, 1812 Overture, Etc / Ormandy
Sony Masterworks Aug 2002
CD
$11.98

Bruckner: Symphony No 4 / Janowski, Orchestre de la Suisse Romande

PENTATONE

SACD

$21.99 Oct 29, 2013

BRUCKNER Symphony No. 4 (Version 1878/1880) • Marek Janowski, cond; O de la Suisse Romande • PENTATONE 5186 450 (SACD: 63:27)

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.

As I suggested at the beginning: The porridge is just right for this bear!

FANFARE: Steven Kruger

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Bruckner: Symphony No 4 / Janowski, Orchestre de la Suisse Romande
PENTATONE Oct 2013
SACD
$21.99

Tchaikovsky: Symphony No. 4; Mussorgsky: A Night On The Bare Mountain; Prokofiev: The Love For Three Oranges Suite

ICA Classics

$14.99 Sep 27, 2011

The redoubtable Rozhdestvensky, chief conductor of the BBC Symphony Orchestra from 1978 to 1981, is at his very best in Russian repertoire. Indeed, his Shostakovich has a raw energy that never fails to excite, so I had high hopes for this recording of Tchaikovsky’s febrile Fourth. The other items on this disc – all recorded live by the BBC – make for a sensible and interesting programme, the rarely heard Sorochinsky Fair version of Night on a Bald Mountain especially welcome. Also worthy of note is the growing catalogue of archive material from the recently launched ICA label, some of it previously unreleased and much of it – the Tennstedt Mahler 3, for instance – very desirable indeed.

The upfront blare of horns and bassoons at the start of the Tchaikovsky gives a clear indication of the character of Rozhdestvensky’s approach to this score; it’s vital and vigorous, yet the rhythms of ‘In movimento di Valse’ have grace and charm. The big climaxes pack a terrific punch – what thrilling timps – the transported brass scything through the mix like one of those brazen, Soviet-era performances. That’s not to say it’s over-driven – well, not yet, anyway – merely that it’s not the carefully sculpted sound-world of, say, Claudio Abbado (DG) or Lorin Maazel (Telarc). This uncompromising earthiness is reinforced by a forthright, yet detailed, recording.

The oboe playing at the start of the Andantino is lovely, Rozhdestvensky alive to the emotional undertow of this music. The strings and woodwind are wonderfully alert and ardent, testament perhaps to Noddy’s rigorous rehearsals, and there’s real nobility in those big, swelling tunes. Anyone who knows Rozhdestvensky’s Royal Festival Hall Sleeping Beauty (BBC Legends BBCL 4091-2) will recognise that seemingly intuitive feel for phrasing; it all sounds so spontaneous. As for the animated pizzicati of the Scherzo, they have a fleeting, will-o’-the-wisp quality that’s most engaging.

All that evaporates in the sudden heat of the Allegro con fuoco. In his autobiography producer John Culshaw tells the story of how Georg Szell was tricked into taping an ill-tempered – yet fiery – rendition of this finale, but even he can’t match the incandescence of Rozhdestvensky’s reading. The BBC brass and percussion are truly heroic, the orchestra hard-driven yet coherent to the very end. I listened to this track several times, scarcely able to believe this music could be taken at such a lick and not descend into chaos. The instant roar from the otherwise very quiet audience says it all. A thumping performance, and a pretty good recording too.

A Night on the Bare Mountain, most often played in Rimsky’s orchestration, is given here in Anatoly Liadov’s hotch-potch culled from Mussorgsky’s unfinished opera Sorochinsky Fair. The change of venue – London’s Royal Albert Hall – and the very immediate recording add an edge to the choral singing that brings plenty of piquancy and passion to this strange hybrid. Remarkably, Rozhdestvensky gets his British forces to play and sing with all the abandon of their Russian counterparts. What a team they would have made in Alexander Nevsky. Musically this is fascinating, with unusual colours and a melting coda. I’d urge you to give this a try if you don’t already know it.

If not Nevsky, then Prokofiev’s suite from The Love for Three Oranges will do very nicely, thank you. And so it proves; ‘The Clowns’ is played with manic energy and ‘The Magician’ is magnificently malevolent. Prokofiev’s audacious rhythms and acid colours are superbly caught, ditto the ever-present percussion and demented brass. As for the March and Scherzo, they’re imbued with rather more menace than usual, ‘The Prince and Princess’ as inward and ardent as ever. The scurrying strings and lancing brass of ‘The Flight’ have seldom emerged with such ferocity, or the cymbals sizzled so. An ear-blasting end to a most entertaining collection.

Noddy fans will want this disc, and those who have yet to experienced his unique blend of eloquence and excitement would do well to start here. The Tchaikovsky is a stunner, and while the Mussorgsky is something of a curiosity it’s well worth having. The Prokofiev-on-steroids is a wild but welcome bonus.

Another fine issue from ICA.

-- Dan Morgan, MusicWeb International

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Tchaikovsky: Symphony No. 4; Mussorgsky: A Night On The Bare Mountain; Prokofiev: The Love For Three Oranges Suite
ICA Classics Sep 2011
CD
$14.99

Schmidt: Symphony No 4, Etc / Kreizberg, Netherlands Po

PENTATONE

SACD

$21.99 Jun 01, 2005

This selection is a Hybrid Multichannel Super Audio CD. The Stereo Hybrid SACD program can be played on any standard compact disc player. The DSD Surround and Stereo programs require an SACD player for playback.

At long last, Franz Schmidt’s magnificent Fourth Symphony is becoming a staple of the CD catalog, if not the concert hall. The mournful, nostalgic, yearning score, an elegy for a dead daughter and a dying culture (Vienna, 1934), is one of the last great gestures of the Romantic era. It’s Strauss without the bombast, Mahler without the neuroses. This 45-minute dirge received only one recording during the mono era, and then only one pre-digital stereo treatment—one of its best versions, by Zubin Mehta and the Vienna Philharmonic. That Decca recording, from about 1971, remains one of the finest things Mehta has ever done. I don’t mean that to sound like damning with faint praise; Mehta is far from my favorite conductor, but with this score and the Vienna Philharmonic he drew on emotional resources that would elude him later in his career. For its balance of sorrow, anguish, and uneasy peace, the Mehta recording has never quite been bettered. L’udovít Rajter and the Bratislava Radio Orchestra made the symphony’s first digital recording, in 1987, as part of an Opus cycle that produced the first decent versions of Schmidt’s first two symphonies (they and the Third are much sunnier works than the Fourth). Rajter’s Fourth was honorable, but was no longer necessary when Mehta finally appeared on CD and other better-played versions came along. Those latter include Franz Welser-Möst and the London Philharmonic (EMI, 1994), followed within a couple of years by Martin Sieghart and the Bruckner Orchestra of Linz (Chesky) and Neeme Järvi and the Detroit Symphony (Chandos). Members of the London Philharmonic nicknamed Welser-Möst “Frankly Worse than Most,” which is surely an overstatement, although in this lineup he’s better only than Rajter; even so, his disc is valuable for its inclusion of Schmidt’s Variations on a Hussar’s Song, otherwise available only on a hard-to-find Preiser CD. Sieghart is surprisingly competitive, perhaps edging out Järvi to come in a close second to Mehta.

Now, just at the dawn of the SACD era, we already have a first-rate new version of Schmidt’s Fourth in superb surround sound from Yakov Kreizberg and the Netherlands Philharmonic on PentaTone. The recorded sound is a bit distant, but detailed (clear enough to reveal an occasional grunt from the podium). More important, Kreizberg’s performance breathes nicely, with a natural rubato that makes its effect over large musical paragraphs more than through individual phrases. It isn’t quite my Schmidt ideal; the big climax about six minutes into the Molto vivace, which is effectively the third movement, could be marginally more cataclysmic. (An aside: The chorale just after this point would have been a better place than three minutes from the end to begin track 4, since the chorale introduces what is essentially the symphony’s recapitulation if you regard the work as one massive sonata-allegro movement.) Also, Kreizberg could have wrung more passion out of the little climax about two-and-a-half minutes from the end, the symphony’s last cry before it dies away into the bereft trumpet solo with which it began. But these are small points, and Kreizberg joins Sieghart just marginally behind Mehta.

Perhaps tipping the judgment to Kreizberg, besides the modern five-channel sound (the CD can also be played in two-channel stereo on a regular player), is the inclusion of three orchestral bits from Schmidt’s opera Notre Dame (as in the Victor Hugo novel known in English as The Hunchback of Notre Dame). The lush, string-centered, harp-haloed Intermezzo has been recorded many times before, most notably in a voluptuous, daringly slow Karajan version on EMI, but the Introduction and “Carnival Music” are comparative rarities. I’ve encountered these three pieces together as a suite only on an Opus/Musical Heritage Society LP by Rajter and the Slovak Philharmonic, where the music was inexactly billed as “Carnival and Intermezzo.” The suite is a welcome addition to this disc, but it should have come first rather than last; Schmidt’s devastating Symphony No. 4 should be followed only by silence.

James Reel, FANFARE

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Schmidt: Symphony No 4, Etc / Kreizberg, Netherlands Po
PENTATONE Jun 2005
SACD
$21.99

Brahms: Violin Concerto; Symphony No. 4

GLAUX RECORDS

$21.99 Oct 02, 2026

This recording explores Brahms' masterpieces through the lens of historical performance practice, restoring lost expressive technical traditions such as rubato, portamento and tempo flexibility. Performed on period instruments by the Nieuwe Philharmonie Utrecht led by specialist Johannes Leertouwer, the album reveals a sound world of striking contrasts, dramatic freedom and orchestral transparency going far beyond modern conventions.

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Brahms: Violin Concerto; Symphony No. 4
GLAUX RECORDS Oct 2026
CD
$21.99

Mahler: Symphony No. 4 / Reiss, Bychkov, Czech Philharmonic

PENTATONE

$19.99 Apr 08, 2022

The Czech Philharmonic and its Chief Conductor and Music Director Semyon Bychkov present a new recording of Mahler’s Fourth Symphony, laying the foundation of a complete Mahler symphonies cycle to appear on PENTATONE. It will be the label’s first ever full Mahler cycle, and the Czech Philharmonic’s first survey of this extraordinary symphonic opus since their recording under Vacláv Neumann between 1976 and 1982. Although chiefly active in Vienna during the heydays of his career, Mahler was born in what is now the Czech republic, and through this recording project, he returns to his native soil. For conductor Semyon Bychkov, Mahler’s symphonies are all about expressing the polyphony of life, and recording these works is the fulfilment of a life-long fascination. This cycle deliberately starts with the most popular and frequently-played Fourth, famous for its macabre scherzo, soothing slow movement and heavenly finale, sung by soprano Chen Reiss. The Czech Philharmonic is one of the world’s most acclaimed orchestras, with a rich tradition of performing Czech masters and music from Central Europe. Semyon Bychkov has led the greatest orchestras of the world, and is Chief Conductor and Music Director of the Czech Philharmonic as of the 2018/2019 season. Soprano Chen Reiss frequently appears on the biggest opera and concert stages throughout the world. Chen Reiss, Semyon Bychkov and the Czech Philharmonic all make their PENTATONE debut.

REVIEW:

The music of Gustav Mahler may have no greater champions than the Czech Philharmonic Orchestra and Semyon Bychkov, the orchestra's music director since 2018. The Czech Philharmonic's association with Mahler dates back to 1908, when the composer led the orchestra in the premiere of his Symphony No. 7.

Soprano Chen Reiss is a perfect match for the finale. She delivers the light playfulness necessary to depict a child and is equally serious when the mood shifts. The trust and communication between the musicians of the Czech Philharmonic and Bychkov is evident throughout as the orchestra responds to his demands and delivers an exciting and clean reading. One looks forward to further editions in this cycle with anticipation.

-- AllMusic.com (Kevin Finke)

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Mahler: Symphony No. 4 / Reiss, Bychkov, Czech Philharmonic
PENTATONE Apr 2022
CD
$19.99

Marlboro Fest 40th Anniversary - Mendelssohn: Symphony No 4

Sony Masterworks

$17.99 Jul 07, 2011

Casals was as much at home conducting as he was playing cello, and this performance is imbued with the same bold and emphatic shaping, vigorous rhythmic drive and concern for the overall musical shape of the work being performed.

...The lion's share of the release is taken up by five CDs with Casals conducting. The repertoire is solidly mainstream: Beethoven Symphonies Nos. 1, 2, 4, 6, 7 and 8, Schubert's Fifth and Mendelssohn's Italian, and the Brahms Haydn Variations. These recordings are important if for no other reason than for documenting the work of one of the most powerful musical personalities of this century, who went on making music until his death in 1973 at the remarkable age of 96.

Casals was as much at home conducting as he was playing cello, and these performances are all imbued with the same characteristics as Casals's solo playing. They are very forthright with bold and emphatic shaping, vigorous rhythmic drive and concern for the overall musical shape of the work being performed. On the other hand, tempos are at times leisurely and there is a tendancy 'to enjoy the view'. This is very much an interpretative style more common to the first half of this century than the second. One feels that Casals is talking the same musical language as some of his great contemporaries such as Mengelberg and Furtwangler if without their personal idiosyncracies.

-- Gramophone [6/1991]
reviewing the Sony series of Marlboro 40th Anniversary CDs, which includes the present disc

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Marlboro Fest 40th Anniversary - Mendelssohn: Symphony No 4
Sony Masterworks Jul 2011
CD
$17.99

American Classics - Piston: Symphony No 4, Etc / Schwarz

Naxos

$19.99 May 01, 2003

Walter Piston's lovely Fourth Symphony certainly deserves greater exposure than it gets, and there's no reason why it shouldn't be popular. It begins with a lovely, pastoral opening that leads to a rambunctious scherzo with some elegant waltz music interludes. The slow movement is one of the composer's finest: it builds to a superb climax of Brucknerian intensity, while the amiable finale closes the work in high spirits. Really, what's not to like? This is the work's only stereo recording (Ormandy's is screechy mono, but wonderful all the same), and it's a very fine one. Schwarz keeps rhythms crisp in the fast movements, and phrases the "Comtemplativo" very broadly and affectingly, with some excellent solo work from the winds of the Seattle Symphony.

The couplings are also very well done, the Capriccio's naturally dry string textures and bracing harmonic idiom providing an excellent stylistic foil to the solo harp. Three New England Sketches, one of Piston's very few "titled" works, also has impressive atmosphere, though Slatkin's out of print version on RCA was better still. No matter: these are fine performances very well recorded, and deserve your attention. Thanks to Naxos for keeping them in the catalog (and to the Seattle Symphony, which understood the necessity of not leaving the master tapes to molder in some closet or basement storage room once Delos deleted the original issues).
--David Hurwitz, ClassicsToday.com

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American Classics - Piston: Symphony No 4, Etc / Schwarz
Naxos May 2003
CD
$19.99

Bruckner: Symphonies Nos. 4 & 5 / Bohm, Staatskapelle Dresden
Profil Feb 2012
CD
$24.99

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Beethoven: Symphony No. 4, Op. 60 / Furtwängler, Berln Philharmonic
Vox Mar 2023
CD
~~$19.99~~ $14.99

Tchaikovsky: Symphony No. 4 - Rachmaninoff: Piano Concerto / Korsantia, Stuttgart Philharmonic

Haenssler Classic

$20.99 Jan 15, 2021

"This is a thrilling performance, which, like the Tchaikovsky Symphony, shows the indisputably high level of the Stuttgart Philharmonic." (Pizzicato LU) “The Stuttgart Philharmonic, founded in 1924, is in its 6th year under the busy Israeli conductor Dan Ettinger. His regular work at almost all of the leading opera houses in the world makes his approach to the melodies of Tchaikovsky and Rachmaninoff just about perfect." (American Record Guide) The present album is a showstopping production of Tchaikovsky’s Fourth Symphony paired with Rachmaninoff’s Piano Concerto No. 2. The featured soloist in the concerto is Alexander Korsantia, one of the leading pianists of our time. He has been praised for “piano technique where difficulties simply do not exist.” (Calgary Sun). His recordings of works by Beethoven, Prokofiev, Rachmaninoff, and Copland have won multiple awards.

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Tchaikovsky: Symphony No. 4 - Rachmaninoff: Piano Concerto / Korsantia, Stuttgart Philharmonic
Haenssler Classic Jan 2021
CD
$20.99

Schmidt-Kowalski, T.: Symphony No. 4 / Violin Concerto No. 2
Naxos May 2006
CD
$19.99

Bruckner: Symphony No. 4 / Heras-Casado, Anima Eterna Brugge

HARMONIA MUNDI

$22.00 ~~$22.01~~ Save 0% Sep 13, 2024

For their first collaboration on harmonia mundi, Pablo Heras-Casado and Anima Eterna explore the world of Bruckner. The first instalment in this series is his tremendous Symphony No.4. An apotheosis of architectural rigour and poetry, this cathedral in sound, thanks to the unique sonorities of the period instruments played by the Bruges orchestra, regains it's lightness and elegance in dazzling orchestral colors!

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Bruckner: Symphony No. 4 / Heras-Casado, Anima Eterna Brugge
HARMONIA MUNDI Sep 2024
CD
~~$22.01~~ $22.00

Shostakovich: Symphonies Nos. 4 & 11 / Rozhdestvensky, Orchestras of the BBC

ICA Classics

$26.99 Sep 23, 2022

Gennady Rozhdestvensky (1931-2018) was one of Russia’s greatest conductors along with Evgeny Mravinsky and Kirill Kondrashin. His close personal and musical relationship with Shostakovich began in the 1950s and continued until the composer’s death in 1975. Rozhdestvensky said at the time, ‘It would be difficult to overestimate the significance of my relations with Dmitri Shostakovich since he opened before me a musical universe like a gigantic magnifying glass reflecting our fragile world’.

Rozhdestvensky conducted the first western premiere of Shostakovich’s Symphony No.4 in Edinburgh in 1962 and after many subsequent performances internationally, it was also the inaugural piece in his tenure as chief conductor of the BBC Symphony Orchestra (1979-81). Composed in 1936 but condemned by the Soviet authorities, it did not receive its first performance until 1961 in Moscow. The epic Symphony No.11, given a dramatic performance by the BBC Philharmonic in 1997, is based on revolutionary folksongs relating to the 1905 Russian Revolution, and received the Lenin Prize in 1958. Despite this, questions arose as to whether Shostakovich was denouncing the Soviet regime’s brutal treatment of its opponents in it, specifically the 1956 invasion of Hungary or the Tsarist tyranny and oppression of 1905, to which there are no conclusive answers.

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Shostakovich: Symphonies Nos. 4 & 11 / Rozhdestvensky, Orchestras of the BBC
ICA Classics Sep 2022
CD
$26.99

Weinberg: Trumpet Concerto - Tchaikovsky: Symphony No. 4

Accentus Music

DVD

$41.99 Jul 31, 2020

Mieczyslaw Weinberg's Trumpet Concerto op. 94 was composed in his most productive creative phase and premiered in Moscow on 6 January 1968. Shostakovich once described it as a "symphony for trumpet and orchestra" - no wonder, since it showcases the whole variety of Weinberg's compositions: from the bitingly humorous first and sumptuously colorfully orchestrated second movement to the wonderfully collage-like finale, fabulously interpreted by Hakan Hardenberger to celebrate the composer's 100th anniversary. After the Sixth and Fifth Symphonies, Andris Nelsons and the Gewandhausorchester Leipzig add Tchaikovsky's Fourth to their cycle featuring the symphonic works of this outstanding composer.

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Weinberg: Trumpet Concerto - Tchaikovsky: Symphony No. 4
Accentus Music Jul 2020
DVD
$41.99

Bruckner: Symphony No. 4

Gramola Records

SACD

$23.99 Apr 08, 2022

Anton Bruckner's Fourth Symphony, the so-called "Romantic", is characterized by a long history of development, stretching from the first drafts in 1874 to the third version in 1888. However, this version, which was common until the 1950s, was rejected in the "version dispute", and instead the second version from 1878/80 became the prevailing version during the second half of the 20th century. The third version was only rediscovered in 1996 by the Bruckner researcher Benjamin Korstvedt and re-edited in 2004. This version, regarded by Bruckner as the final version, which contains a few cuts and mainly tempo adjustments in favor of a slower playing style, was presented by conductor Rémy Ballot and the Altomonte Orchestra at the St. Florian Brucknertage Festival 2021.

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Bruckner: Symphony No. 4
Gramola Records Apr 2022
SACD
$23.99

Symphonie No. 4 Lieder Eines
Orfeo Jul 1999
CD
$16.99

Mahler: Symphony No. 4 / Lojendio, Muñoz, Camerata Gala

IBS Classical

$17.99 Jan 13, 2023

Mahler’s 4th Symphony and the lieder of Des knaben Wunderhorn are symphonic scores with a hue similar to that which can be found in chamber music. This is due to the fact that Mahler’s orchestration is not too dense. Domínguez-Nieto’s conception of the work, recorded here for the first time, exploits, with utmost respect for the composer’s original orchestration, its chamber music overtones to its maximum. Gustav Mahler’s 4th Symphony, as well as the song cycle Des Knaben Wunderhorn (The Boy’s Magic Horn), is based on Arnim and Brentano’s collection of children’s stories of the same name. The fantasy that emanates from this piece of literature finds in Mahler a natural catalyst, who manages, with each musical impulse, articulation, nuance, glissando, harmonic or any other of the myriad of details that inhabit his scores, to transport us to the dreamy and magical world of children’s stories, thus developing a fragile balance between utter fiction and overwhelming reality. With his 4th Symphony, Mahler brings to an end his so-called Wunderhorn period, marked by the reverie and imagination which can be found in such tales.

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Mahler: Symphony No. 4 / Lojendio, Muñoz, Camerata Gala
IBS Classical Jan 2023
CD
$17.99

Bruckner: Symphony No. 4 in E flat Major "Romantic"
Querstand Feb 2025
CD
$25.99

Bruckner: Symphony No. 4

Accentus Music

DVD

$27.99 Jan 29, 2013

Bruckner’s famous “Romantic” Symphony No. 4 forms the prelude to a spectacular DVD series from Accentus Music and Unitel Classica, exploring Bruckner’s symphonic cosmos. Recorded live at Philharmonie Berlin on 20 June 2010, Der Tagesspiegel describes Barenboim’s Bruckner as ‘… conceived and performed very theatrically, like an opera without words.”

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Bruckner: Symphony No. 4
Accentus Music Jan 2013
DVD
$27.99

Sibelius: Symphonies 1 & 4 / Gibson, Royal Scottish No
Chandos Feb 2008
CD
$6.99

Taneyev: The Oresteia, Symphony No 4 / Järvi, Philharmonia
Chandos Mar 1991
CD
$21.99

Mahler: Symphony No 4 / Chailly, Gewandhaus-Orchester

Accentus Music

DVD

$31.99 Apr 30, 2013

Also available on Blu-ray

Gustav Mahler
SYMPHONY NO. 4

Christina Landshamer, soprano
Gewandhaus Orchestra
Riccardo Chailly, conductor

Recorded live at the Gewandhaus zu Leipzig, 26–27 April 2012

Bonus:
- The Welte-Mignon Piano Player Device
- Mahler plays Mahler – Symphony No. 4 in G major: IV. Sehr behaglich
- Riccardo Chailly on interpreting Mahler’s 4th Symphony with the Gewandhaus Orchestra

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, German, French, Japanese
Running time: 61 mins
No. of DVDs: 1 (DVD 9)

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Mahler: Symphony No 4 / Chailly, Gewandhaus-Orchester
Accentus Music Apr 2013
DVD
$31.99