Conductor Lu Jia plays Arnold Schönberg’s transcription of Brahms’ Piano Quartet No. 4 like an orchestral work by Schönberg, not a “fifth symphony” by Brahms. Jia emphasizes the score’s Schönbergian elements, among them its shocking colors, angular counterpoint, and hyper-detailed dynamics. There are many passages, such as the first movement’s development, that stand out in bolder relief than ever before. Jia’s grand romantic sweep in the Andante con moto relates it squarely to the more ecstatic passages of Schönberg’s Gurrelieder. Through it all the Norrköping Symphony Orchestra’s playing sizzles with an inner vitality that bespeaks the performers’ obvious enjoyment. A similar if somewhat lesser degree of involvement informs Christoph Eschenbach’s Houston Symphony recording, but is somewhat lacking in Robert Craft’s noticeably drier account. Jia is helped immensely by BIS’ powerfully dynamic recording, which realistically recreates the performance venue (highlighted by especially vivid low brass).
Erich Leinsdorf’s transcription of the Four Serious Songs does indeed strive to replicate Brahms’ orchestral style, sounding at times like the German Requiem. The songs gain dramatic urgency in this guise, a quality emphasized by Olle Persson in his burly yet heartfelt performance. The Two Chorale Preludes emerge as beautifully lush in their new orchestral clothes, making for a meditative close, and adding value to this already highly desirable disc.
