Word: concertgebouw
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Dates: during 1960-1969
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...July 9) takes place in four Dutch cities. Its imaginative programming includes four concerts devoted entirely to works of Berg, Schoenberg and Webern, played by The Hague Residentie Orchestra under Pierre Boulez in Scheveningen; three Debussy cycles in Amsterdam, Rotterdam and The Hague. More conventional fare by the Concertgebouw Orchestra; dance and opera (from Rameau's Platée to Schoenberg's Moses and Aaron) is also offered...
Indeed "they" have, all the way from such solidly schooled, well-established figures as the Minneapolis Symphony's Stanislaw Skrowaczewski, 44, and the Amsterdam Concertgebouw's Bernard Haitink, 38, down to such newer personalities as the Houston Symphony's André Previn, 38, and the Met's Thomas Schippers, 37. At the top is a crack cadre of gifted conductors...
Most of the migrant Orientals are string players, and many are filling chairs in the world's great orchestras. Amsterdam's Concertgebouw numbers five Japanese violinists among its ranks. West Berlin's Radio Orchestra has a Japanese concertmaster, as do both the Oklahoma City Symphony and the Quebec Symphony. The Boston Symphony and the Japan Philharmonic are in the second year of an exchange agreement whereby two string players from each orchestra swap places for a season. And the promising youngsters keep coming: co-winner of this year's prestigious Leventritt Award was Korean Violinist Kyung...
...Haitink acts the part of a confident conductor is when he steps on the podium. Then he is all that might be expected of somebody who is regarded as one of the top younger figures in the field-firm, precise, sensitive, adept at molding the rich chiaroscuro of the Concertgebouw sound without blurring the melodies or jostling the rhythms. Under his baton, the orchestra is not yet burnished to the glow it had under Mengelberg, and in some of the repertory he has not yet overcome a faint tendency toward coolness and restraint. But when he conducts the full, darkly...
Solid Payment. Last week, on its fourth U.S. visit, the Concertgebouw left New York on its way to the Midwest, playing college concerts at Yale, Rochester and Oberlin. The highlight at every stop was a broad, impeccably phrased performance of Bruckner's Symphony No. 7. Haitink's carefully reasoned, deeply felt interpretation brought out each secondary melody and delicately balanced the softest shimmer of strings with the noblest blast of brass. Yet, as he built from climax to climax, he never lost sight of the unifying line in the hour-long score. It was not only magnificent music...