Concert Review: A Valediction, Forbidding Mourning

Bernard Haitink conducts Mahler’s Ninth Symphony.
by Paul J. Pelkonen

The great Bernard Haitink at the controls of the New York Philharmonic.
Photo by Chris Lee © 2014 The New York Philharmonic.

At 87 years old, Bernard Haitink is a dean among active conductors still appearing on the podiums of the world's great concert halls. He still works regularly with the London Symphony Orchestra and he visits the New York Philharmonic in David Geffen Hall every other year. On Tuesday night, Mr. Haitink led the fourth and final performance this season of Gustav Mahler's Symphony No. 9. As the audience sat, rapt for almost an hour and a half, one wondered if this was the Dutch conductor's last New York performance of this touchstone work.

Concert Preview: April 2016 at the New York Philharmonic

Mahler and Musical Marvels at David Geffen Hall
by Paul J. Pelkonen

The maestro: Bernard Haitink returns to the Philharmonic.
Photo by Chris Lee © 2014 New York Philharmonic.

As the concert season hits its spring homestretch, Superconductor blows the dust off an old idea, a comprehensive concert calendar previewing what's coming up with a given organization or venue. In this case, we're previewing the month of April at the New York Philharmonic, which offers five seperate subscription concerts at its longtime home David Geffen Hall.

Film Review: Copying Beethoven

Ed Harris' 2006 biopic hits some of the right notes.
by Paul J. Pelkonen

A bewigged Ed Harris scores in Copying Beethoven.
Photo © 2006 MGM/United Artists.

Copying Beethoven was barely noticed when it came out ten years ago. Released by MGM/UA, this 2006 film by Agnieszka Holland stars Ed Harris as the composer in his 54th year, battling deafness and inner demons as he struggles to finish the Symphony No. 9 in D Minor. The film is a fiction, pairing Beethoven with Anna Holtz (Diane Kruger) a 23-year old coal miner's daughter (no I'm not making that up) copyist and aspiring composer. She meets Beethoven when she is employed to correct and edit the players' parts four days before the premiere of the Ninth. 

Concert Review: A Tour of the Universe

Bernard Haitink conducts Mahler's Symphony No. 3.
by Paul J. Pelkonen

The conductor Bernard Haitink.
Photo © 2014 Medici.Tv,

At 100 minutes and six movements, Gustav Mahler's Symphony No. 3 in D Minor is the largest and longest symphony in the standard repertory. With the aid of two choirs, offstage instruments and an alto soloist, the work attempts to depict creation itself, moving through a vast cosmology from the mountains erupting out of the earth to the all-but-unfathomable love of a higher being.

Concert Review: The Grand Master

Bernard Haitink returns to the New York Philharmonic.
by Paul J. Pelkonen

Bernard Haitink celebrates 60 years on the podium this season.
Photo by Creutziger courtesy New York Philharmonic

The New York Philharmonic celebrates Bernard Haitink's sixtieth year as an orchestra conductor this month, inviting the 85-year old Dutch maestro to Avery Fisher Hall for two weeks of concerts. On Saturday night, Mr. Haitink capped the first of his two concert programs with a program divided neatly between the Second Viennese School and Ludwig van Beethoven.

Concert Review: Dreaming in Color

Bernard Haitink and the BSO play Carnegie Hall.
by Paul J. Pelkonen

Susan Graham (left) and Bernard Haitink perform Ravel's Shéhérezade last week at Symphony Hall.
Photo by Stu Rosner © 2014 Boston Symphony Orchestra.

For the second of their two concerts this week at Carnegie Hall, Bernard Haitink and the Boston Symphony Orchestra chose to devote an evening to the music of Maurice Ravel. This Swiss-born composer is known for precise musical construction and delicate orchestration--with a small but memorable output of works that can have the character of a complicated time-piece. However, this superb pairing of orchestra and conductor found emotional depth in these pieces, achieved through a high standard of performance.

Concert Review: Time-Scape

The Boston Symphony Orchestra returns to Carnegie Hall.
by Paul J. Pekonen

Bernard Haitink.
Photo by Chris Christodoulu © 2013 London Symphony Orchestra.

The repertory of any major symphony orchestra spans centuries, with composers influencing each other's work over a vast ocean of time.  On Tuesday night, the Boston Symphony Orchestra offered a program that built bridges over that ocean, from the 19th century to the baroque era and from the England of the 17th century up to our own era. This was the first of two concerts this week under the baton of Bernard Haitink. The 85-year-old Dutch conductor is now in his sixth decade of conducting, and second decade of his long association with the BSO.

Concert Review: The Start of Something Big

The London Symphony Orchestra returns to Lincoln Center.
by Paul J. Pelkonen

Bernard Haitink returned to Lincoln Center with the London Symphony Orchestra.
Photo by Todd Rosenberg, courtesy Lincoln Center for the Performing Arts.

The meteoric rise of Dmitri Shostakovich as one of Soviet Russia's most brilliant composers came to a screeching halt in 1936, when the dictator Josef Stalin attended one of his operas, Lady Macbeth of the Mtsensk District. The fall-out from Stalin's displeasure (which included an infamous Pravda editorial) led Shostakovich to quietly withdraw his Fourth Symphony from rehearsals. Locked away in a desk drawer, the work would not be heard until 1961.

On Sunday afternoon at Avery Fisher Hall, Bernard Haitink and the London Symphony Orchestra made a good case for the long, difficult Fourth as one of the composer's finest compositional achievements--and its composer's first important statement as a symphonist. (The First is a student piece, while the Second and Third are examples of Party propaganda.) It was fitting that this work was paired with Mozart's Piano Concerto No. 9--that composer's first mature statement in a genre that he would come to master. This concert was the first of this year's Great Performers at Lincoln Center, an annual series of orchestral concerts and chamber works.

Concert Review: A Song for the Departed

Bernard Haitink conducts Mahler at Symphony Hall.
by Paul J. Pelkonen

Camilla Tilling sings "Der Himmlische Leben" at Symphony Hall as Bernard Haitink
conducts the Boston Symphony Orchestra. Photo by Stu Rosner © 2013 Boston Symphony Orchestra.

Bernard Haitink has enjoyed a four-decade association with the Boston Symphony Orchestra, culminating in a successful term (1995-2004)  as the orchestra's principal guest conductor. (He currently holds the title of Conductor Emeritus.) This week, Mr. Haitink returned to Symphony Hall for a program exploring the lighter repertory of two great symphonists: Franz Schubert and Gustav Mahler.

Concert Review: The Thirty-Year Itch

Bernard Haitink returns to the New York Philharmonic

Bernard Haitink makes a point. Photo © CSO Resound Classics

When Bernard Haitink last conducted the New York Philharmonic, the compact disc had just been invented. Ronald Reagan was president, and the orchestra was completing a transition from the experimentation of the Pierre Boulez regime to a more conservative direction under Zubin Mehta.

This week, the Dutch conductor returned to the podium in Avery Fisher Hall for the first time in thirty years. For his return, Mr. Haitink chose a pair of conventional works that are not too frequently played by this orchestra. The concert opened with Strauss' tone poem Don Quixote followed by Beethoven's Sixth Symphony, the Pastoral.

Mr. Haitink is now 82, and celebrating his fifth decade as a professional conductor. He led the band with vigor, conducting both works with sure hands, a quick baton, and a steady, light-footed approach to the music. His conducting remains pristine and precise, drawing a warm, balanced quality of sound, bringing out the very best from this fine orchestra.

Don Quixote is essentially a cello concerto blended with a tone poem. Strauss casts this noble instrument (played here by Philharmonic principal Carter Brey) as the mad, chivalric knight. Principal violist Cynthia Phelps took the part of Sancho Panza, her lines doubled with a tenor tuba. Like Cervantes' great novel, the tone poem has an episodic structure. It takes a skilled hand to make the work hang together.

Strauss contrasts the virtuoso solo parts with masterful orchestration, depicitng the good Don's actions against villains real and imagined. The complex brass parts create the aural illusion of spinning windmill blades, bleating sheep, and the good citizens of Spain, who the Don faces off with in the interests of his honor. Mr. Brey and Ms. Phelps embodied the protagnist with virtuosic playing, engaging in witty musical dialogue with Mr. Haitink and Philharmonic concertmaster Glenn Dicterow.

It could be argued that Beethoven's Sixth is the great-grandfather of all tone poems. Beethoven expanded this symphony to five movements, and assigned short titles to each. With some influence from the illustrative writing of Haydn and the opera overtures of Mozart, this was the first piece of program music. The Pastoral paved the way for the Romantic movement that breathed its last with Strauss' death.

Mr. Haitink took the opening Allegro (subtitled "Cheerful Impressions on Arriving in the Countryside") at a brisk, tempo that sacrificed none of the idyllic qualities that are central to this music. The slow "Scene by the Brook" had some gorgeous playing from the cellos, led by Mr. Brey, restored to his place leading the section. Flautist Robert Langevin and oboist Liang Wang were perfect "birds" in the movement's final secton, worthy of a Messiaen sketch.

Thankfully, the orchestra chose to take the repeat in the "Merry Dance of Country Folk", slamming into the "Storm" without pausing for breath. The chugging strings and howling (wood)winds gave way to a serene horn-call. This was the finale, the "Shepherd's Song" played with deep, almost religious meaning and a gorgeous line from the principal horn. As the melody was tossed from section to section, it teased the development of a gorgeous fugue. Mr. Haitink's country excursion ended a satisfying final two chords, a sonorous ending to this profound work.

Ten Super Conductors

The Top Ten Maestros I've Seen

Claudio Abbado at work.

Hi folks. I finally got to hear Gustavo Dudamel conduct this weekend. So I thought I'd take this opportunity to put up my top ten list of great conductors that I've seen lead an orchestra or an opera.

I'll try to add what I've seen them conduct, as I can best remember it. In a few cases, there are just too many performances, so I've picked a notable one. Oh and the order is completely arbitrary as I thought of them for the list.


1) Claudio Abbado: Berlin Philharmonic, Mahler Symphony No. 3; Bruckner Symphony No. 9

2) Giuseppe Sinopoli: Dresden Staatskapelle. Tone poems and opera excerpts by Richard Strauss. Sinopoli is one of my favorite, underrated composers. He died in 2001, collapsing in the pit while conducting Act III of Aida in Berlin.

3) Daniel Barenboim: Metropolitan Opera Orchestra. Tristan und Isolde; Mahler 5 and 7 with the Chicago Symphony Orchestra.

4) Pierre Boulez: Ravel's L'enfant et les Sortileges with the Cleveland Orchestra and Suzanne Mentzer.

5) Riccardo Chailly: Royal Concertgebouw Orchestra: Mahler Symphony No. 7

6) James Levine: Metropolitan Opera Orchestra, Boston Symphony Orchestra. More performances that I can count at the Met, but all of the Wagner operas, especially Parsifal and Lohengrin.

7) Bernard Haitink: Mahler Symphony No. 9 with the Boston Symphony Orchestra. At Symphony Hall when I lived in Boston, probably in 1996.

8) Sir Colin Davis: Program of English music with the New York Philharmonic featuring works by Vaughan Williams (the Fantasia on a Theme by Thomas Tallis) Michael Tippett and Edward Elgar.

9) Kurt Masur: Many performances with the New York Philharmonic. Pressed to pick one: The St. Matthew Passion or Debussy's La Mer. And he led a superb Bruckner Seventh last season.

10) Riccardo Muti:"The Pines of Rome" with the New York Philharmonic. Simply devastating.

The Next Ten: Alan Gilbert, Christian Thielemann, William Christie, Zdenek Macal, Valery Gergiev. Seiji Ozawa, John Eliot Gardiner, Christoph von Dohnanyi, Gustavo Dudamel and Sir Simon Rattle.

Dusting off the Haitink Ring

Signed Photo of Eva Marton as Brunnhilde.
Photo owned by Andrew Howe.

There's been a lot of Wagner and Strauss-related content in the blog lately. These two great German composers number among my favorites, whether for the power of Wagner's mighty orchestral developments or the shimmering diversity of voices that Strauss wrung from the orchestra.

In the interest of continuing our summer program along the same vein, here's a look at Bernard Hairink's underrated version of Wagner's mega-mythological cycle.

When the Haitink Ring hit the market, it faced a lot of stiff competition. Georg Solti and Herbert von Karajan had made classic cycles (in the '60s and '70s, respectfully). James Levine had unleashed his Metropolitan Opera forces on a set of audio and video readings of the four operas. And live recordings from Fürtwangler, Böhm, and Boulez peppered the already-overstocked shelves of the big classical music stores--Tower, HMV and (later) the Virgin Megastore.

All of those are now gone, and the classical music industry has reduced its output to a trickle of CDs and a flood of reissues. So it's time to re-assess Bernard Haitink's durable version of the Ring. Assets of the recording include a fine Siegfried sung by ex-bassoonist Siegfried Jerusalem, tenor-that-never-was Reiner Goldberg as his daddy Siegmund, and Matti Salminen as an impressive Hunding.

Theo Adam, who recorded Wotan for Karl Böhm, here shifts to Alberich. He was much older when this recording was made, but his snarls suit the dwarf. Waltraud Meier is an excellent, bitchy Fricka (only in Walküre) Marjana Lipovsek sings the role in Das Rheingold opposite the Wotan of James Morris. Morris, in turn sounds better on this set than on the Levine cycle. Finally, Götterdämmerung features a superb trio of Gibichungs. Thomas Hampson is an heroic, yet appropriately wimpy Gunther, Cheryl Studer as Gutrune, and John Tomlinson, is in fine, gruff voice as the treacherous Hagen.

Unfortunately, there is one big negative in this set, the stentorian Brunnhilde of Eva Marton. She sings most of the role without inflection, keeping her big, laser-like soprano on full blast even in the most lyrical passages. The decision to have her sing all three phrases of "Heil dir Sonne" (from Siegfried) at full fortissimo destroys Wagner's intentions and robs the Awakening scene of its beauty. However, she gets better in the later pages of Götterdämmerung, particularly the confrontation in Act II and the radiant finale. She is aided by the underrated Munich orchestra, in superb, shimmering form, led by a conductor who appreciates textures and nuances found in the more obscure corners of the score.