Splendid Beethoven 6th and 2nd Symphonies from Haitink and L
John Kwok | New York, NY USA | 09/15/2006
(5 out of 5 stars)
"Distinguished conductor Bernard Haitink and the London Symphony Orchestra continue their splendid LSO Live traversal of Beethoven's symphonies in two fine performances of the 6th and 2nd symphonies, elegantly recorded by LSO Live from live concert performances at London's Barbizon concert hall in November, 2005. Those who prefer brooding, melodramatic Beethoven will be disappointed with these performances, since they adhere closely to the period instrument techniques espoused by the likes of Nikolaus Harnoncourt and Sir Roger Norrington, which means that they sound stylistically closer to recent recordings with Sir Simon Rattle, Claudio Abbado, and David Zinman conducting respectively, the Wiener Philharmoniker, Berliner Philharmoniker and Tonhalle orchestras. If you happen to be a Beethoven traditionalist, then I'm certain you'll find more pleasure in distinguished recordings by Walter, Karajan, Bohm and Bernstein which are still available. Otherwise, I think you might agree with me that Haitink has successfully reconceived his interpretation of Beethoven's scores, based now on the scores edited by the late Jonathan Del Mar in the recently published Barenreiter Edition.
Of the two symphonies on this CD, I have a slight preference for Haitink's account of the 6th Symphony, since he excels in emphasizing the light textures and period instrument influences of this score, in some respects more so than either Abbado or Zinman in their critically acclaimed accounts. For example, I don't find the "swiftly flowing brook" noted muscially in the second movement to be as brisk as another customer reviewer has complained. Nor do I shed tears for a less melodramatic "storm" 4th movement, or the beautiful elegy to nature which is the symphony's fifth movement; instead I am thrilled with the superlative playing by London Symphony Orchestra musicians within the wind, horn and string sections, and Haitink's consistently brisk tempi (But I will concede that he does slow his tempo a bit in the fifth movement, rendering it as if it was a hymn in praise of nature's beauty and innate goodness.). Of course I also enjoy the London Symphony Orchestra's fine playing of the 2nd Symphony, but there is nothing here which truly distinguishes this version as being markedly different from those I've heard with Abbado, Zinman or Rattle conducting. Without question, I am confident that this fine CD will earn ample praise and interest from long-time fans of Beethoven's symphonies, conductor Bernard Haitink and the London Symphony Orchestra."
Mostly gentle, flowing Beethoven with a whiff of period flav
Santa Fe Listener | Santa Fe, NM USA | 07/18/2006
(3 out of 5 stars)
"Nearing eighty, it's rather late for Bernard Haitink to be rethinking Beethoven--or maybe it's never too late. These live accounts of the Sym. #2 and #6 from London show signs of period influence in faster tempos, punchier accents, and lighter textures. The second movement of the Pastorale presents one of the fastest-flowing brooks I've ever heard in this work. Haitink has also decided that "depth" and "profundity" are a no-no. Along with Abbado and Rattle in their complete cycles, this isn't Beethoven the heroic struggling revolutionary but a somewhat restless child of Haydn.
Pendulums swing, so a new generation may find the Scherzo of the Pastorale normal at just over four minutes flat, but where is Beethoven's rustic rough humor? It skips by without notice. The storm is tenser and faster than anything given us by Walter, Furtwangler, Klemperer, Bernstein, Karajan, Giulini or the earlier Haitink himself. One is reminded instead of the million-selling Beethoven cycle from David Zinman in Zurich (Arte Nova). But tradition returns here in the finale, where Haitink's fairly broad tempo for the concluding hymn sounds like the old days. Even so, his aim is to glide toward the rainbow, not pray to heaven.
This Second Sym. is a dead-ringer for the updated versions from Rattle and Abbado, all speed and sharp accents with lots of crash and bang on the timpani to remind us that it's Beethoven. Being such an early work, the Second takes well to period treatment, and Haitink retains his gift for melodic shaping in the Larghetto. Neither the Scherzo nor finale is rushed, but I don't hear any special exubreance, either. The LSO plays well without standng out in any way.
In all, Haitink was never really strong as a Beethoven conductor, and although he's changed his spots (some of them, at least), the result is pleasant wiithout being exciting or new."
Track Listings (9) - Disc #1