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Tag: Bernard Haitink

Berliner Philharmoniker – Bernard Haitink conducts Mahler’s Seventh Symphony 2009 720p WEB-DL AAC2.0 H.264-CHDWEB

It is his unpretentious musicality, in particular, avoiding all exaggeration, that makes Bernard Haitink an ideal conductor of the symphonies of Gustav Mahler, which are unsuited to interpretational excess and forced originality. Haitink looks back on many years of experience with Mahler and has recorded the First through the Seventh Symphonies and the Adagio of the Tenth with the Berliner Philharmoniker. For that reason, the performance of the Seventh in January 2009 was anticipated with great excitement.

The composer considered it his “best work” up to that point and in a letter to his publisher wrote that it had a “primarily cheerful” character. The rather gloomy introduction of the first movement, with a melody played by the tenor horn above a funeral-march rhythm, casts doubt on that assessment. Musicologists will probably never agree on the question of whether the C major exultation of the finale is intended seriously or put in quotation marks, so to speak, as exaggeration.

The middle movement is a ghostly Scherzo, marked “shadowy” and framed by two movements described as “night music”. The solemn slow movement usually obligatory in Mahler’s symphonic works is replaced in fourth position by a serenade-like Andante amoroso, which is accompanied by mandolin and guitar.

The Seventh Symphony was long overshadowed by Gustav Mahler’s other works in this genre, but it has become an indispensable part of the concert schedules of the great orchestras. Sir Simon Rattle and the Berliner Philharmoniker opened both the 2011/2012 and 2016/2017 seasons with this work.

https://www.digitalconcerthall.com/en/concert/24

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Bavarian Radio Symphony Orchestra – Bruckner: Symphonies Nos. 1-9 (Live) (2019) [Official Digital Download 24bit/48kHz]

Bavarian Radio Symphony Orchestra, Herbert Blomsted, Bernard Haitink, Mariss Jansons, Lorin Maazel – Bruckner: Symphonies Nos. 1-9 (Live) (2019)
FLAC (tracks) 24-bit/48 kHz | Time – 09:43:21 minutes | 5,29 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

Bruckner’s Nine Symphonies are a constant in the repertoire of the Symphonieorchester des Bayerischen Rundfunks, as in those of all major orchestras. The special feature of the 9 album being presented here by BR KLASSIK is that the recordings are conducted by not only one but a total of four conductors closely associated with the orchestra, all of them proven international Bruckner experts. More than in any other compilation, common features in interpretation (also due to the same orchestra) as well as fascinating differences due to the various interpretive approaches of the respective conductors can all be detected. In these recordings it also becomes clear what brilliant contributions Herbert Blomstedt, Bernard Haitink, Mariss Jansons and Lorin Maazel have made over the decades to Bruckner’s symphonic oeuvre.

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Bernard Haitink – Mahler: The Symphonies & Song Cycles (2019) [Official Digital Download 24bit/96kHz]

Bernard Haitink – Mahler: The Symphonies & Song Cycles (2019)
FLAC (tracks) 24-bit/96 kHz | Time – 15:42:27 minutes | 18,2 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Decca

Haitink’s Mahler interpretations offer a combination of objectivity and distance, emotional reflection and release, continuity and tradition. Under Haitink, the Concertgebouw secured its reputation as one of the world’s great Mahler orchestras and their cycle of the composer’s symphonies and orchestral songs stands as witness to the orchestra’s feeling for its deep history and to the enduring artistry of its conductor.

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Bernard Haitink – Bruckner: The Symphonies (2019) [Official Digital Download 24bit/96kHz]

Bernard Haitink – Bruckner: The Symphonies (2019)
FLAC (tracks) 24-bit/96 kHz | Time – 10:14:26 minutes | 12,1 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Decca

In honour of Bernard Haitink’s 90th birthday this year, Decca presents one of the conductor’s most lauded and respected series of repertoire. Bruckner’s symphonic cycle is played here by the Royal Concertgebouw Orchestra, recently voted by Gramophone Magazine as ‘The Greatest Orchestra in the World’.

Bernard Haitink’s complete survey of the Bruckner symphonies set the standard for subsequent recordings of the repertoire whilst continuing a living tradition in Amsterdam.

Beyond the work of an orchestra and conductor in a golden period, these iconic cycles owe much to the Amsterdam Concertgebouw itself – one of the great temples of culture – and further gained from the vision of Decca’s engineers who created a recorded sound of such striking depth, detail and realism. All these elements combined to attract countless new listeners to Bruckner’s music.

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Bernard Haitink – Beethoven: Piano Concerto No. 2 & Triple Concerto (2019) [Official Digital Download 24bit/96kHz]

Bernard Haitink – Beethoven: Piano Concerto No. 2 & Triple Concerto (2019)
FLAC (tracks) 24-bit/96 kHz | Time – 01:21:50 minutes | 1,61 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © LSO Live

LSO Live celebrates the 90th birthday of one of the conducting world’s greats, Bernard Haitink. Few artists have a deeper understanding of the music of Beethoven than the celebrated Dutch conductor, who is known for his mastery of the great symphonic repertoire. This album focuses on Haitink’s interpretations of Beethoven’s concerto writing, coupling a new recording of Piano Concerto No 2 by Maria João Pires with a virtuosic performance of the Triple Concerto by Lars Vogt, Gordan Nikolitch and Tim Hugh, which was originally made alongside Haitink’s now iconic cycle of the composer’s complete symphonies.

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Berliner Philharmoniker – Brahms’s Violin Concerto with Frank Peter Zimmermann and Bernard Haitink (2010) 720p WEB-DL AAC2.0 H.264-CHDWEB

It is actually astonishing that Brahms’s Violin Concerto is considered one of the most popular, for the composer here forgoes all virtuosic display with which his contemporaries such as Paganini and Sarasate guaranteed the success of their works. In the Brahms concerto there is not even a play on the tension between soloist and orchestra; the effect is rather one of mutual support for each other.

This powerful cooperation can be appreciated in this concert with Frank Peter Zimmermann and the Berliner Philharmoniker under the direction of Bernard Haitink. The Tagesspiegel described the performance as “sensational”: “Zimmermann works together with the sections of the orchestra, his phrasing is clear and intelligent, he forgoes self-indulgence, and develops a warm and intensive timbre with a shellac-like sheen.”

The Hungarian flavour that permeates the last movement of the Brahms concerto is reflected in the two other works of the evening, but they are of genuine Magyar origin. The concert opens with György Kurtág’s Stéle for large orchestra, written in 1993 during Kurtág’s time as Composer in Residence with the Philharmoniker, and ends with Bartók’s sharply contoured Concerto for Orchestra.

https://www.digitalconcerthall.com/en/concert/286

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Berliner Philharmoniker – Brahms, Bartok – Zimmermann, Haitink 2010 720p WEB-DL AAC2.0 H.264-CHDWEB

It is actually astonishing that Brahms’s Violin Concerto is considered one of the most popular, for the composer here forgoes all virtuosic display with which his contemporaries such as Paganini and Sarasate guaranteed the success of their works. In the Brahms concerto there is not even a play on the tension between soloist and orchestra; the effect is rather one of mutual support for each other.

This powerful cooperation can be appreciated in this concert with Frank Peter Zimmermann and the Berliner Philharmoniker under the direction of Bernard Haitink. The Tagesspiegel described the performance as “sensational”: “Zimmermann works together with the sections of the orchestra, his phrasing is clear and intelligent, he forgoes self-indulgence, and develops a warm and intensive timbre with a shellac-like sheen.”

The Hungarian flavour that permeates the last movement of the Brahms concerto is reflected in the two other works of the evening, but they are of genuine Magyar origin. The concert opens with György Kurtág’s Stéle for large orchestra, written in 1993 during Kurtág’s time as Composer in Residence with the Philharmoniker, and ends with Bartók’s sharply contoured Concerto for Orchestra.

https://www.digitalconcerthall.com/en/concert/286

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Berliner Philharmoniker – Bernard Haitink conducts Schubert and Shostakovich 2015 1080p WEB-DL AAC2.0 H.264-CHDWEB

Beginnings and endings – this could be the theme of this concert with Bernard Haitink: The 19-year-old Schubert’s B-flat major Symphony, composed in the autumn of 1816, belongs to his youthful symphonies in which the composer follows the traditional form model of Haydn and Mozart. The playful lightness of the themes, the cheerful dialogue between instrumental groups and the transparent orchestration clearly display a Mozartean character. But the often surprising harmonic progressions already reveal Schubert’s Romantic sound aesthetic.

Shostakovich’s Symphony No. 15, the last written by the Russian composer, also comes across as light and cheerful. But this cheerfulness is only superficial. Shostakovich works with irony and ambiguity, uses musical quotes from his own works and from others’, such as Rossini’s William TellOverture and Wagner’s Die Walküre, and includes twelve-tone series that are not heard as such, all of which together create a musical picture puzzle, a subtle network of profound symbolic relationships. With this symphony – it is said – Shostakovich left behind his musical autobiography.

The Berliner Philharmoniker dedicated this concert to Lorin Maazel who died on 31 July 2014 and who was originally to conduct the evening.

https://www.digitalconcerthall.com/en/concert/20438

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Berliner Philharmoniker – Bernard Haitink conducts Schubert and Mahler 2016 1080p WEB-DL AAC2.0 H.264-CHDWEB

Schubert’s “path to the great symphony” was long and difficult: he completed only seven of the total of 13 works that he wrote – or rather began writing – in the genre; only with the “Great” C major symphony composed in 1825 did he achieve a breakthrough, making him the initiator of the romantic symphony after Beethoven. Schubert had already got quite close to this aim with his Unfinished, as in the two movements handed down completely he resolved a central compositional problem of the time in a highly original way (the form of the sonata movement focussed on expansion with one self-contained, songlike theme), by re-defining the function of the themes and their periodic structure in the scope of the traditional sonata movement – a process that later Gustav Mahler also used, a composer who recognised the path-breaking potential of Schubert’s oeuvre at an early stage: already at one of his first concert performances in Iglau on 31 July 1876 he programmed Schubert’s Wanderer Fantasy; later Mahler regularly conducted symphonies such as the Unfinished and the “Great” C major, and performed numerous Schubert Lieder at the piano.

While in his song cycles Mahler picked up compositionally directly on Schubert’s Schöne Müllerin, he took up the mood of the Winterreise in his Lied von der Erde – an exceptional work that makes the finiteness of human existence its central theme, composed in a time in which the composer stood, in his own words, “vis-à-vis de rien”. Bernard Haitink, guest conductor of the Philharmonic since 1964 and one of the outstanding Mahler interpreters of our time, turns, after Schubert’s Unfinished, to Mahler’s work. It bids farewell to the world, and after the catastrophic climax of the last movements seems to fade away into infinity with an open ending: the text flows into the word “ewigeternal, accented by gently floating tone lines; the music seems to gradually dissipate while the word is repeated a multitude of times. The tenor is Christian Elsner, while baritone Christian Gerhaher takes on the second solo, which is usually sung by an alto: as early a conductor as Bruno Walter at the first performance in Vienna substituted the alto with the baritone Friedrich Weidmann, who was esteemed by Mahler – after all, the composer himself, originally unsure about the distribution of the voices, subtitled the Lied von der Erde on the engraver’s copy “A Symphony for Tenor and an Alto or Baritone Voice and Orchestra”.

https://www.digitalconcerthall.com/en/concert/23442

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Berliner Philharmoniker – Bernard Haitink conducts Mozart and Bruckner 2015 1080p WEB-DL AAC2.0 H.264-CHDWEB

He is regarded as modest, profound and completely at the service of the music – with his unpretentious, earnest manner, Till Fellner has played his way into the league of the great pianists of our time. In 2011 at a Philharmoniker chamber concert, the student of Alfred Brendel performed piano trios by Haydn and Beethoven together with violinist Corey Cerovsek and cellist Adrian Brendel, and already then established himself as a specialist for the music of the First Viennese School. Here, he makes his debut in orchestral concerts of the Berliner Philharmoniker with the Piano Concerto in C major K. 503 which Wolfgang Amadeus Mozart composed for one of his concert performances in the Advent season in 1786. The first movement of the work is unusually long for that era, and is characterised by a complex, symphonic approach that extends far beyond the concert form customary at the time.

An old hand with the Philharmoniker is at the young pianist’s side: Bernard Haitink is a guest conductor who has worked together with the orchestra since 1964 on a regular and frequent basis. He has repeatedly placed Anton Bruckner’s symphonies on his concert programmes. Like virtually no other practitioner of his craft, Haitink understands how to organise the vast masses of sound of these works, and to build up the tremendous cumulations of this music convincingly and stirringly. He last performed the Fourth here, known as the Romantic, in March 2014.

The Austrian composer’s ninth and last symphony was played with the Philharmoniker only once under his direction, namely in 1989. This work, dedicated by Bruckner “to the beloved God”, remained unfinished. When he died, the composer left behind only three completed movements and extensive sketches for the Finale. This symphony is reminiscent of Beethoven’s Ninth not only because of the key of D minor; like it, the first movement of Bruckner’s work begins quasi from an archaic source, ultimately creating a musical world that opened the gates to the modern era.

https://www.digitalconcerthall.com/en/concert/22394

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