On completion in 2024, Markus Poschner’s cycle of the Bruckner symphonies will include all three versions of the Fourth Symphony. The first of them to appear features Benjamin Korstvedt’s new edition of the second version, which is based on the text of 1878 80 as amended by Bruckner during rehearsals for the first performance in 1881. This gives it the same foundation as the well-known Haas edition, and even those very familiar with the symphony might be hard-pressed to hear any significant differences. One that’s conspicuous, however, is the scoring of the bucolic melody at the start of the Trio for flute and clarinet rather than oboe and clarinet. This reflects one of Bruckner’s earlier changes and on this point the new edition is aligned with the Nowak edition rather than the Haas.

Capriccio’s recording also includes the Volksfest finale that Bruckner composed in 1878 at the same time as his revisions to the symphony’s first three movements, before replacing it in 1880. It’s an interesting piece to hear but it falls short of the imagination of its predecessor and the cumulative power of its successor. It’s not difficult to understand why Bruckner wanted to replace it.

As with the previous releases in the series, Poschner’s tempos are well judged and his approach combines a feeling of line with attention to detail. Passages such as the transition to the first movement’s development section and much of the Andante convey a strong sense of mystery. Elsewhere, however, the performance doesn’t convey the imagination and grip that makes a recording stand out in an extremely crowded field. There are fewer options when it comes to recordings of the Volksfest finale but even here I’d be inclined to place the recording by Georg Tintner and the Royal Scottish National Orchestra slightly ahead of the newcomer.