Word: haitink
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Dates: during 2000-2009
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...Berlin, Martin Krause), Arrau, 83, is equally at home in the Transcendental Etudes, the Brahms sonatas and the Beethoven concertos, lavishing on each his pellucid tone and his hardy technique. The Beethoven concertos have long been a specialty, and he recorded a memorable set in 1964 with Bernard Haitink and the Amsterdam Concertgebouw Orchestra. This ''Emperor'' was recorded in Dresden in late 1984 and is vintage Arrau. Like Schnabel, Arrau believes that the best interpretation is the one that lets the music speak most directly to the listener. Beethoven: Symphonies Nos. 1 and 2. Christopher Hogwood conducting the Academy...
...Principal guest conductor Bernard Haitink directed with both ease and authority. His precise baton yielded wonderful control, yet there was never a sense of stiffness or tension. His elegant podium manner was only further complemented by the sound he received from the orchestra. The Tanglewood Festival Chorus, directed by John Oliver, sounded alternately warm and earthy in the right moments (such as the opening), although perhaps not “heavenly” enough for the beginning and end of the last-movement setting of Psalm 150, with its plaintive Alleluia’s. Stravinsky reveals in this movement...
...resulting in an all-around impeccable delivery. Other members of the woodwind section played their most difficult and taxing parts brilliantly. The strings, however, were not at their strongest, and the Tanglewood Festival Chorus sang their wordless parts too directly and without the distance sometimes required in this music. Haitink conducted effortlessly, and took the final “Danse Generale” at a brisk, exciting tempo, which proved to be very effective. This was programming at its best: two twentieth century repertoire staples performed by an orchestra whose links to both works have only become stronger over time...