Bruckner: Symphony No. 4, WAB 104, "Romantic" Orchestre Métropolitain & Yannick Nézet-Séguin
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- Anton Bruckner (1824 - 1896): Symphony No. 4 in E flat major, WAB 104:
- 1Bruckner: Symphony No. 4 in E flat major, WAB 104: I. Bewegt, nicht zu schnell19:29
- 2Bruckner: Symphony No. 4 in E flat major, WAB 104: II. Andante, quasi allegretto16:50
- 3Bruckner: Symphony No. 4 in E flat major, WAB 104: III. Scherzo. Bewegt Trio: Nicht zu schnell10:46
- 4Bruckner: Symphony No. 4 in E flat major, WAB 104: IV. Finale: Bewegt, doch nicht zu schnell22:42
Info for Bruckner: Symphony No. 4, WAB 104, "Romantic"
Ever since Haydn, the father both of the modern symphony and the string quartet, some symphonies have had nicknames. In the case of Haydn’s work, these nicknames were often given to commemorate some anecdote, and, since you can’t always remember a symphony’s number, to facilitate identification … Few nicknames have been given to works by Mozart and Beethoven.
Schumann did not disown the nicknames “Spring” for his first symphony, or “Rhenish” for his third. Some of Schubert’s symphonies were given nicknames after their composer died. Liszt himself christened his two symphonies, as did Berlioz. In Bruckner’s case, on the other hand, the nicknames are enigmatic and rarely apt. His Symphony No.3 is known as the “Wagner” or the “Tristan,” for its use of the signature chord from Wagner’s opera Tristan und Isolde. His Symphony No. 8 was known as “Apocalyptic” for its cavalcade of a finale. And, right from the start, Bruckner himself referred to his Symphony No. 4 as “Romantic.” Everyone agrees that the nickname is valid, but we have to try to explain its allusion. ...
"Although Yannick Nezet-Seguin stresses Romantic warmth of sonority and richness of mood, it's remarkable how textured the orchestral sound is. We don't just hear the leading melodic lines, but also the echoes, imitations and counter-melodies that often get pushed into the background. It's refreshing to hear Bruckner's orchestral writing brought to life on so many levels, captured faithfully by the recording." (BBC Music Magazine)
"Nezet-Seguin shies away from weighty sound blocks or dense textures; rather, he inflects the musical line according to its expressive place in the overall scheme of things and isn't afraid to dip the tempo at crucial corners, so that we can better appreciate the view...The Scherzo is full of energy, though again it's most lyrical aspects come off best...The Andante is equally successful." (Gramophone Magazine)
Yannick Nézet-Séguin, conductor
Founded in Montreal in 1981 by some of the finest music graduates from Québec conservatories and music faculties, the Orchestre Métropolitain now numbers about 60 professional musicians. From the very outset, the Orchestre Métropolitain adopted a wide public approach that focused on broadening audiences for classical music. Since 2000, the Orchestre Métropolitain has enjoyed a string of successes under the direction of its conductor Yannick Nézet-Séguin.
The Orchestre Métropolitain has developed a unique approach founded on an unshakeable determination to democratize classical music by bringing it to people in their neighborhoods. Since its inception, the Orchestre Métropolitain has made a priority of introducing people to classical music and breaking down economic barriers with a policy that makes tickets affordable to everyone. The Orchestre Métropolitain is also a byword for very high quality entertainment and an invitation to enjoy musical culture through pre-concert talk, and through its conductor who discusses each of the works on the program.
In 2012, Montreal-born Yannick Nézet-Séguin added the Music Directorship of The Philadelphia Orchestra to his roles as Music Director of the Rotterdam Philharmonic Orchestra and long-time Artistic Director and Principal Conductor of the Orchestre Métropolitain (Montreal), where he has served since 2000. 2017/18 will be his tenth and final season with the Rotterdam Philharmonic. In 2020/2021, he will succeed to James Levine as the third Music Director of the Metropolitan Opera.
In addition to his activities with his own orchestras, Yannick enjoys close collaborations with the Berliner Philharmoniker, Wiener Philharmoniker, Bayerischer Rundfunk Sinfonieorchester and Chamber Orchestra of Europe. Opera in 2017/18 includes Parsifal and Elektra at the Metropolitan Opera and Die Zauberflöte at the Festspielhaus Baden-Baden (Chamber Orchestra of Europe) recorded live for Deutsche Grammophon. Further highlights include a European tour with the Orchestre Métropolitain of Montreal, the first international tour in the orchestra’s history, and European tours with the Philadelphia Orchestra and the Rotterdam Philharmonic Orchestra. Yannick studied piano, conducting, composition, and chamber music at the Conservatoire de musique du Québec in Montreal and choral conducting at the Westminster Choir College in Princeton, New Jersey before going on to study with renowned conductors, most notably the Italian maestro Carlo Maria Giulini. His honours include Musical America’s Artist of the Year (2016), Royal Philharmonic Society Award; National Arts Centre Award; Prix Denise- Pelletier; Prix Oskar Morawetz. He holds honorary doctorates from the University of Québec in Montreal (2011), Curtis Institute in Philadelphia (2014), Westminster Choir College of Rider University (2015) and McGill University in Montreal (2017). He was appointed a Companion of the Order of Canada in 2012, Companion of the Order of Arts and Letters of Québec in 2015, Officer of the Order of Québec in 2015 and Officer of the Order of Montreal (2017).