It is nearly 20 years since Haitink recorded Bruckner's Fourth Symphony with the Concertgebouw Orchestra. Reissued in 1981 by Philips, the performance was satisfying lucid and unaffected, giving it a place alongside the very fine but differently conceived and realized versions by conductors like Klemperer (HMV), Karajan (HMV, 1972 and DG, 1976), Bohm (Decca) and Jochum (DG and HMV—nla). The performance's success was based to some extent on Haitink's special affinity with the Concertgebouw Orchestra and the particular qualities of both the hall and the orchestra. In this respect, it is marginally disappointing to find Haitink travelling to Vienna to re-record the Fourth Symphony, particularly when the result is less characteristic and no longer quite so obvious an alternative to the Austro-German way with this work.
It should be said at once that the performance is clearly projected, eloquently played, and beautifully recorded. The problem is that Bohm's Vienna Philharmonic performance is, within the broad terms of the Viennese Bruckner tradition, a good deal more characterful, whilst Haitink's own performance has become broader, most tempos now marginally slower than before, robbing us, to an extent, of that distinctive lucidity and poise which was so notable a feature of the earlier recording. Further thoughts about Haitink in Vienna and the rival Bohm must await the CD's issue. I should add that Haitink uses Nowak's text of 1878-80. If you want oboes in the third movement Trio you must go, via Klemperer on HMV, to Haas.'