Bernard Haitink (1929-2021)

[André]

CD 92



This has always been a 3 star recommendation in Haitink's discography. Here's a short summing up from MusicWeb's John Quinn: « these winning Bizet performances show Haitink at his best, displaying sensitivity, attention to detail and a willingness to let the music speak for itself« . Haitink at his best would do just that. But sometimes he would give credence to his own wry comment « Am I being too Dutch here? ». Fortunately in Bizet Haitink caught the spirit just right.

Add to that the splendid playing of the Amsterdam orchestra and wide-ranging, deluxe recorded sound and ... a thrilling filler ! Haitink's 1980 take on Chabrier's España has been around on various online music providers, but it's the first time it appears on disc. If you love the music it's likely you have a personal favourite version (like Argenta or Paray's). Add to those the ACO's elegant, saucy romp through Chabrier's infectious orchestral rhapsody. Once again John Quinn's comment applies to a T here. Strange that neither Munch nor Monteux never recorded it. They may have played it in concert (?) but alas, they didn't take it to the studio.

Not typical Haitink fare, but let's remember that French music was very dear to his heart. Robert Levine (from ClassicsToday) enjoyed his recording of Pelléas et Mélisande while cautioning that Haitink's interpretation was prone to sound « matte-finished and white-bread-with-mayo ». That's one way to conceive P&M of course (symbolism and all that). His Carmen was miscast and roundly trounced by most reviewers. I blame the casting but Haitink may have been 'too Dutch' as well.

This disc rates a 10 based on the fun (music), beauty (playing), elegance (conducting) on offer here.

[Herman]

I'm not privy to the Philips particulars, but I'm guessing Haitink was not thrilled with this unbuttoned sleeve picture and asked Philips to go back to more conventional images.

[André]

The 4 piano concerti and the Rhapsody on a Theme of Paganini.

As I'm listening to a disc of the first two concertos with Leif Ove Andsnes and Simon Rattle with the Berlin Phil, I can't help but notice the difference in the sound world emanating from the pianist, the orchestra and their respective engineering. The big outbursts when both the piano and the orchestra tumble forth from the speakers are fine with Andsnes and Rattle, but they are devastating with Ashkenazy and Haitink.

My first encounter with Ashkenazy's pianism was with his Decca recordings of the Chopin Scherzos and Barcarolle, and Beethoven's Hammerklavier sonata some 50 years ago. I was struck with how forceful, cutting and deep he made the piano sound - totally different from Rubinstein, who was my pianist of choice at the time. In 1987 the same qualities were still on display. Not much had changed then, except perhaps that he seemed to really lean into the romantic, nostalgic aspects of Rachmaninoff.

As for the work of Haitink and the orchestra, I could not fault anything. The soundstage may be a bit deeper, a tiny bit more recessed under the Decca engineers, but the sonic impact in the tutti is perhaps even more solid and brilliant than under the Philips crew.

There are probably many other superb versions of these works around - they have been played to death - but for a set of all these works this is peerless. Rating for pianism, orchestral execution and engineering: 9, 9 and 10/10.

In 1983-84 Ashkenazy had recorded the symphonies and other works for orchestra with the ACO and these recordings have claims for top position in the eyes (and ears) of many collectors. It's a pity Decca (or Philips) didn't ask Haitink to record them. These would probably have been just as good ! As things stand it would appear that Haitink never recorded any symphonic Rachmaninov - or Sibelius for that matter.

[André]

Coming soon : my assessment of Haitink's first (of many) traversals of the Brahms symphonies.

Okay, might as well get started. 😝




Context: Haitinks' first cycle of the Brahms symphonies was taped in Amsterdam in 1970-71. He re-recorded them in Boston in 1994 and in London (LSO) in 2004. Various concert tapes of individual symphonies are on disc as well. And our own Herman highly recommends his latest thought on the symphonies with the Chamber Orchestra of Europe.

I've scoured Discogs (the web site that lists every recording there ever was) to check timings. First, I notice that the 3rd is the only Brahms symphony in which Haitink consistently took the exposition repeat in the first movement (he took that repeat in symphony no 2 in Boston, but not in Amsterdam or London - and never took it in symphony no 1).

Also, in all 3 cycles, his tempi seem to be remarkably consistent: very little variation in any of the movements. Contrast that consistency with conductors who, whether because of age or influenced by a specific orchestral culture (Bernstein, Giulini) adopted different positions in the matter of tempi. That's called editorial policy. Obviously Haitink gave thought about structural matters - truly essential in Brahms, and not just in relation to the symphonies. The structure in Brahms is as important as the textures.

So, cutting to the chase: this is the only B3 by Haitink I've heard but considering the consistency in timings in all 3 cycles I imagine orchestral sound and engineering must be the only real audible differences between versions.

My benchmark for this symphony has always been Walter and the Columbia Symphony, recorded in superb sound by the Sony engineers. Next, Böhm and the WP (fiery, trenchant while at the same time retaining that unique WP salted caramel sound -  extra salt maybe ?). Haitink is just as good. Even better are the ACO horns in the first movement. I can't decide which I prefer.

Next, an absolute indulgence : Giulini with the WP straight from the opium den: the most indulgent orchestral fest I can think of (obviously Giulini takes his cue from the composer himself: I can see Johannes himself blush here). Peanut butter AND salted caramel (extra caramel ?) with the occasional cashew bite. 

The continuation, with symphony no 4, my first ever recording of the work.