Marcus Bosch is at his best in the lyrical second subject of the Fourth Symphony’s finale, which has something of a Brucknerian aura about it. The Scherzo, however, although spirited, is a little bland, the pizzicato underpinning of the principal theme less distinct than it might have been. Commentators tend to align the Third rather than the Fourth Symphony with Wagner but in this performance the opening of the Fourth’s Andante second movement wears its Wagnerian pedigree very close to its sleeve.

It’s a good performance, generally well played, the Eighth likewise, though needless to say here the competition hots up a great deal. When reviewing José Serebrier’s generally superior version I cited Manfred Honeck as the current CD gold standard and I’ve yet to hear a modern version that dissuades me from that standpoint. Beyond the slow opening, Bosch cues a vigorous Allegro con brio with a refreshing lack of disruptive rallentandos (always a temptation in this movement), though in the fast coda the orchestra sounds as if it’s straining to keep up (the brass especially, at around 8'33"). The Adagio is almost there, sensitive in part but a little tentative (more in mood than in execution), the Allegretto grazioso third movement relatively swift and with no easing of tempo for the Trio. Here, as in parts of the first movement, the flutes (ie at 7'31") shine through nicely, though downward string figurations are barely audible. As to the finale, again pretty good, though the martial, drum-and-fife-style strings accompaniment at around 3'02" is indistinct.

Were the market less crowded than it is I could grant this CD a cordial welcome; but as things stand, with countless fine Eighths and Neumann (three times over), Bělohlávek and Válek in the Fourth, aside from the odd winning detail Bosch and his worthy Nuremberg State Philharmonic aren’t really competitive. If you want to sample their work at its best, try their coupling of Symphonies Nos 3 and 7 (7/13), well worth investigating.