Concert Review: NYPO-Haitink

pic from NY Times



Concert Review: NYPO-Haitink

Ever since I first heard Bernard Haitink with his Concertgebouw Orchestra more than three decades ago, I have loyally followed him. Here is a musician who balances the orchestral sonority meticulously, even in odd works like Berlioz' Symphonie Fantastique, to let you hear through the transparency and discover things you have never heard before. In concert he often proved more exciting than on records. The Mahler 6th played in Carnegie Hall when he led the Berlin PO on a New York tour in June 1991 (the concert calender of New York Magazine of that week is amazingly archived on the internet) has remained central to my concert going experience, on par with the unforgettable Karajan performance in the same hall in 1984 (coincidentally cited in this 2009 review of Haitink's Mahler 9th with the LSO).

So I was happy I finally caught up with him in NYC. His appearance with the NYPO was unusual to say the least. The NYT articles said his last appearance was in 1978 but did not mention why he had not returned till now. In the program book, there was a candid interview in which Haitink basically said things did not click then. Although regrettably no Mahler was offered, compensation came in the form of Bruckner 7th.

November 10, Avery Fisher Hall
Strauss-Beethoven (NY Times review)

In Strauss' Don Quixote, a score I love dearly, I particularly enjoyed the playing of cellist principal Carter Brey, who delivered a beautifully full tone, and I feel he is a much stronger soloist than his predecessor, Lorne Munroe. However, I do feel the playing by the orchestra in general lacked Straussian swagger and opulence; perhaps the Philadelphia or Chicago would be more interesting in this work.

Beethoven's Pastorale was beautifully balanced, permeated by a firm pulse, and Haitink coaxed an almost European sound out of the NYPO. Very satisfying. The audience gave him a great ovation, as he deserved.

November 18, Avery Fisher Hall
Haydn-Bruckner (NY Times review)

Like the NY Times reviewer, I much enjoyed the Haydn Miracle, but did have the same thoughts about period practice, and recalled the wonderful performance by McGegan in HK.

The towering Bruckner Symphony No. 7 triumphantly rounded out my Haitink re-encounter. It sounded closer to his earlier studio recordings than some of the more recent and more spontaneous live accounts. The reading flowed inevitably and the NYPO have always been a good Bruckner orchestra. I hope to catch up with Haitink again soon.