Gustav Mahler certainly had access to his short-lived friend Hans Rott’s sole Symphony (1880) and Rott (1858-84) knew not only Bruckner personally but also his music – there are hints of the ‘Romantic’ Symphony (No.4) in Rott’s first movement, outdoor and mountain-climbing in suggestion, scenically vivid, followed by an impassioned and intense slow movement, then a strongly rhythmic and jubilant Scherzo (extended and developed on its return – thrilling) with a secluded/woodland Trio (therein are blueprints for the Mahler to come), concluded by an expansive Finale that is the longest movement by quite a distance, suspenseful, horn-calls that look ahead to Mahler Seven, awestruck Nature-painting, the music gradually quickening in pace, gravitas retained however if now wearing a ceremonial cloak, then striding confidently, a goal in sight, although it takes a further ten minutes to get there; meanwhile Rott flexes his contrapuntal and fugal muscles as he patiently builds a gloriously brassy cinematic coda that comes to rest, slightly unfinished (perhaps). Rott’s Symphony in E is an ambitious piece, an enthralling one, fifty-five minutes here, recorded before but perhaps making its biggest impression to date in this first-class Bamberg performance, Jakub Hrůša conducting with total belief, played magnificently, and going on to an airy, floating Blumine (dropped by Maher from his First Symphony) that wafts beguilingly, and some Bruckner that is published only this year, majestic, fiery and heartfelt, if not obviously by him, although the manuscript has been authenticated. Excellent sound from Joseph-Keilberth-Saal, last year and this, on DG 486 2932.
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