Word: haitink
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...begin, one might consider that the tyrant-weary Berlin Philharmonic eyed him as a potential successor to von Karajan's chief conducting post, not necessarily for his musical worth, but because he was the one of the least oppressive candidates. This characteristic colors his entire artistic output--Haitink has been renowned for utter reliability and dependability, never for willful or idiosyncratic interpretations. Those seeking musical histrionics should look elsewhere. His sound can be counted on not to offend conventional acoustic sensibilities, but his middle-of-the-road path ensures that his interpretations will almost never be terribly memorable...
...conductor's work could be named a touchstone for musical integrity and honesty, it would be Haitink's. But by the very virtue of being the reference point, it precludes any claim at being truly exceptional. If Giuseppe Sinopoli is slightly curdled milk, and Carlos Kleiber five-alarm jalapeno peppers, then Haitink must be of the bread-and-butter variety--filling, but does it taste great...
...first symphony seems to me a bit lacking in the quality for which early critics dubbed it "Beethoven's Tenth Symphony." For example, at the moment of maximum dramatic impact, the brass chorale before the final coda in the last movement, Haitink plows right on through, almost as if anxious to leave it behind him. Brahms delayed writing this symphony for over 20 years, fearing that he would forever remain in the shadow of Beethoven. However, it seems here that Haitink might be the one who feels himself in the shadows of the great symphonists...
...Haitink's recording of the second symphony begins a little cold-blooded for my taste, perhaps adhering to Brahms' wishes of putting "a black edge around the score to give an outward show of grief," but it quickly picks up more and more of the infectious charm that characterizes this beloved piece...
Though he never throws restraint entirely to the winds, I would guess that Haitink perspires quite a bit in the last movement, ending with a satisfying rendition of the tiered descending scales and "stuck car-horn" trombone soli...