Page first published November 8, 2006 - Synopsis in het Nederlands
Conductor Bernard Haitink and soprano Christine Schaefer came down the
red carpeted stairs to receive the long and loud ovation. The audience
lost count of how many times they asked the artists, and especially Bernard
Haitink, to come forward again and again at the end of the jubilee concert
entitled 'Gold for Bernard Haitink' (Goud voor Bernard Haitink). The concert
was given to celebrate and to commemorate his 50 year liaison with the
Concertgebouw Orchestra: November 7, 1956 - November 7, 2006.
There was also much praise for the musicians in the orchestra, especially the clarinetists and the brass section. Photographers were taking pictures when the artists took their bows and also when Haitink climbed the conductor's podium. After so many times climbing up the stairs and coming down again, Haitink gave the impression of being somewhat annoyed as if he wanted to say: "Now it is enough", it was as if he asked at the same time the question: "Why didn't you appreciate me conducting the Concertgebouw Orchestra more in the years before?"
He certainly would not say this, because he knows that a high percentage of the music loving crowd of Amsterdam and of the entire Dutch nation always have admired the maestro's art right from the beginning when he, as a twenty seven year old, for the first time stood in front of the magnificent instrument which the Concertgebouw Orchestra is.
On November 7th, 1956, he substituted for Carlo Maria Giulini. And when Eduard van Beinum had died in 1959, he became principal conductor of the orchestra, a post he shared with Eugen Jochum for several years.
Maybe already in the beginning there were musicians who had ideas of their own and some may have worked somewhat reluctantly with the very young conductor. Although the relationship seemed prosperous, in the end they made Haitink leave the orchestra, in 1988. He settled in England. From there he went to conduct other world-orchestras, with great success.
In the nineteen sixties there also was the younger generation, rebelling against the dusty establishment of conservatism as they saw it. They formed the so called "Nutcracker action group" ("Aktie Notenkraker"). Now many of those rebels have earned themselves recognition, and one would expect them to recognize Haitink's qualities and achievements as well. Many do. It is however pathetic that one of these rebels, Reinbert de Leeuw, who is a much appreciated performer himself (remember his Satie, Liszt and Schoenberg), is rather limited in his appreciation of other music styles than the ones he himself is interested in. He still cannot recognize the importance of Haitink as a conductor, he fails to appreciate what Haitink did for Dutch culture and he does not recognize his international significance, as he told in a recent newspaper interview.
Times have changed however and the Royal Concertgebouw Orchestra has changed too, not in discipline, not in tonality, not in balance and skill. On the contrary. Now there are many young musicians in all instrumental sections and the old core has left.
commemorate the 50th anniversary of 'laureate conductor' Haitink's relationship
with the orchestra, several concerts were planned.
The choice of soloists for 'Das Lied' was maybe not the luckiest, as especially 'Der Abschied' needs a somewhat more mature personality one would say, mentally and physically. It is not fair to make comparisons, but a singer of the stature of Christa Ludwig (who sang an extraordinary Abschied with Herbert Von Karajan at the end of the nineteen seventies), or of the stature of a Nan Merriman (singing decades ago together with Ernst Haefliger under Bruno Walter and Eduard Van Beinum respectively, and much later still with good intentions with Eugen Jochum conducting), would have given more depth to the dramatic and moving 'Die Sonne scheidet hinter dem Gebirge...' and 'Ich suche Ruhe für mein einsam Herz'.
It also seemed that the first Song of the Earth (Das Trinklied vom Jammer der Erde) did not set off as desired. Haitink, the ACO and the tenor apparently had to warm up and the performance was gradually gaining in impact, although the question remains: How drunk do you have to be to sing 'Der Trunkene im Frühling'? Robert Dean Smith certainly was not playful enough. It is Fritz Wunderlich with Otto Klemperer who made the recording that set the standard for all other performances.
It must be said that there could be some tension, a slight hesitation, as the performance needed to be impeccable as this concert was being recorded for release on The Concertgebouw Orchestra's own CD label since they do not have a contract with Philips or Decca any longer. Nothing should go wrong!
a rhapsodic approach, but the structure and a broad concept is Haitink's
strength as was already clear in the perfectly balanced sounds in the
first bar of 'Der Abschied' which did not fail to move the audience.
a concert in the late nineteen eighties, room had to be made for the grand
piano on which Horacio Guttierrez was going to play a Prokofiev concerto.
A few players came down the stage and sat next to me at the long side
of the hall. I asked a cello player his opinion about the new, principal
conductor Riccardo Chailly. And what about the years with Bernard Haitink?
He said that the strength of Haitink was that he generally did not waste
too much time on rehearsals and omitted extensive talks, but kept much
of the energy for the actual performance in the evening. And, he said,
then it often would happen that everybody got inspired and the performance
got this special quality of creation on that moment, then and there.
Many concert goers certainly do know that this is the case, also during many a recording session. For example in Tchaikovsky's 5th symphony. Or Mahler's 6th and 7th symphonies on Philips records, in the Brahms Piano Concerto No. 1 with Vladimir Ashkenazy on the Decca label, and with other orchestras as in Brahms's Alto Rhapsody (Orfeo), and many more instances. Many music listeners do remember that in Rimsky Korsakov's 'Scheherazade' with the London Symphony, in the third movement ('The Prince and the Princess), Haitink really unfolds a love affair and adds intensity to the score. And in 'Jeux' (Debussy) he knows how to bring about a gloomy, esoteric atmosphere. And don't forget the beginning of Liszt's Second Piano Concerto and the slow movement in the First recorded with Alfred Brendel and the LSO. Numerous are the examples.
Haitink does not have the aggressiveness of a conductor like Solti, nor does he have the youthfulness of an extrovert Bernstein. Haitink's treatment of fierce and wild movements remain organized, even in the frenzy build up of Liszt's First Concerto with Alfred Brendel, a recording you should definitely have on the shelve. And how wonderfully strong and structured are 'Images pour orchestre" of Claude Debussy and 'Alborada del gracioso' of Maurice Ravel. There are too many recordings to cherish. And there are of course his Mahler, Shostakovich and above all his Bruckner.
'Der Abschied' and the third movement of Mahler's 4th (Ruhevoll - poco
adagio) are Haitink's best playground. In the Fourth Symphony he knows
to expose the wonderful weirdness of the colorful orchestration of themes,
reminding us of Vienna, of klezmer music, of the folk songs of the people
in the mountains of Tyrol so to speak.
I am not the person who likes the streamlined sound in a small frame so often produced by certain costly electronics and loudspeaker systems. Having known the impact of a large symphony orchestra since I was eleven years old when I sang in the boys choir of Bach's St. Matthew Passion in a town in the country, I have an audio system which can be loud at times and will also produce some distortion, the same level you can get when sitting somewhere in the first ten rows in the Concertgebouw. I have heard performances while being seated at the far end of the hall. They did not have much impact because the high frequencies had no strength and were drowning in the carpet of people in their chairs.
let me tell you, the impact of the concert was also very high because
my seat was just in front of the violins and at a fair distance from the
bass players. The tonal balance was perfect, warm and detailed, except
for the soloists who were singing more or less over the heads of those
seated in the first rows.
Eventually I will add more LPs to this page for the lovers of vinyl (even if it concerns digital recordings), with performances (not necessarily with the Concertgebouw Orchestra) I personally like.
VOOR BERNARD HAITINK:
50 Jaar met het Concertgebouworkest:
7 november 1956 - 7 november 2006.
Bernard Haitink en sopraan Christine Schäfer werden steeds weer terugeroepen
door het enthousiaste publiek dat onder de indruk was van de uitvoering
van de Vierde Symfonie van Gustav Mahler. Alle égards waren ook
voor de fantastisch spelende musici van het Concertgebouworkest, met name
de kopersectie ontving applaus.
dezelfde avond van die 7e november 2006 werd ook "Das Lied von der
Dat is zeker wat veel muziekliefhebbers ook in het verleden ervaren hebben. Niet alleen gedurende een live concert met muziek van Mahler, maar ook in opnamen van het Koninklijk Concertgebouworkest (en andere orkesten) met Bernard Haitink. Zo kan het voorkomen dat in de 5e Symfonie van Tsjaikovsky opeens een ongekende bewogenheid en diepgang wordt bereikt, dat in "Jeux" van Claude Debussy een esoterische sfeer wordt opgeroepen, dat de langzame delen in de pianoconcerten van Franz Liszt met Alfred Brendel en het Londens Symfonieorkest prachtig zingen en in Scheherazade van Rimsky-Korsakov in het derde deel van innige liefde sprake is en Haitink drama aan het geheel geeft en meer dan alleen een mooi geinstrumenteerde partituur weergeeft. Neem de 7e Symfonie van Mahler, de 8e Symfonie van Shostakovich... Trouwens in snelle, luidruchtig-felle delen munt hij evenzeer uit, zoals te horen is in het opzwepende samenspel met Brendel in de snelle delen van (alweer) de Liszt concerten. Dit zijn slechts enkele voorbeelden. In de komende tijd zal ik nog een aantal opnamen noemen van de ere dirigent van het Concertgebouworkest, opnamen die ik persoonlijk tekenend vind voor Bernard Haitink en die ik zeer waardeer.
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Page first published November 8, 2006.
MENGELBERG, BACH'S ST. MATTHEW PASSION AND THE PHILIPS MILLER RECORDING SYSTEM
VIOLINIST/VIOLIST PAUL GODWIN / ELISABETH LUGT, SOPRANO / THE REMINGTON SITE
MERCURY LIVING PRESENCE AND WILMA COZART FINE / MARIE-CLAIRE ALAIN
BACK TO AUDIO & MUSIC BULLETIN / THE UNIVERSAL RECORD STABILIZING RING
CARTRIDGE AND TURNTABLE ADJUSTMENT / PROFESSIONAL RECORD CLEANING / NOSTALGIA: Violinists on 7" 45 rpm