First, as promised, we're going to hear Bernard Haitink and Eugen Jochum conduct the Finale of Beethoven 9. Then we have to hear the first three movements, right?

aka "Bernard Haitink (1929-2021), part 3"
[Now updated to include the first three movements of the Beethoven Ninth Symphony, plus a complete performance (from Tokyo!), with some additional additions still to come]

Dietrich Fischer-Dieskau, baritone; St. Hedwig's Cathedral Choir, Berlin Philharmonic, Ferenc Fricsay, cond. DG, recorded in the Jesus-Christus-Kirche, Dec. 1957-Apr. 1958

Franz Crass, bass; Vienna Singverein, Philharmonia Orchestra, Otto Klemperer, cond. Live performance from the Vienna Musikvereinsaal, in the Wiener Festwochen (Vienna Festival), June 6, 1960

René Pape, bass; New York Choral Artists, New York Philharmonic, Kurt Masur, cond. Live performance from Avery Fisher Hall, Dec. 31, 1999

Martti Talvela, bass; Vienna State Opera Chorus, Vienna Philharmonic, Hans Schmidt-Isserstedt, cond. Decca, recorded in the Grosser Saal of the Vienna Singverein, Dec. 8-12, 1965

by Ken

Some you have seen the not-yet-a-post version of this maybe-still-not-really-much-of-a-post, containing just the five audio files of the Finale of the Beethoven Ninth Symphony as conducted by Bernard Haitink and Eugen Jochum, as promised in Part 2 of this series.

The series: Bernard Haitink (1929-2021)

Part 1 -- Haitink conducts Handel, assorted Brahms, assorted Shostakovich, very assorted Mahler, Wagner (from Act II of Siegfried), and Beethoven (Finale of Symphony No. 9)

Part 2 -- Haitink and Jochum conduct Bruckner: Symphony No. 7: ii. Adagio; and Haitink, Jochum, and van Beinum conduct Mahler: Das Lied von der Erde: i. "Das Trinklied von Jammer der Erde" and vi. "Der Abschied" (both with "related" perforrmances involving other participants)

Part 3 -- multiple Haitink and Jochum performances of the Finale of Beethoven: Symphony No. 9

LET'S GET RIGHT TO THOSE FIVE PERFORMANCES --
THEN WE'VE GOT SOME NEW BUSINESS TO TEND TO

You've had the tease for the Finale, at the top of the post (I hope you enjoyed those four fairly different but all luscious performances!). Now it's time to hear that great bass solo in context.

BEETHOVEN: Symphony No. 9 in D minor, Op. 125:
iv. Finale: Presto -- Allegro assai -- etc.

Bernard Haitink (1929-2021),part 2

In 1961-63 Haitink's career path merged with Eugen Jochum's. We'll hear them side-by-side in Bruckner, and in Mahler side-by-side-by-side with their Concertgebouw predecessor Eduard van Beinum

HOLD EVERYTHING! We're going to need a "part 3," for a Haitink-Jochum Beethoven Ninth face-off: an anticipated five performances of the Finale ranging in time from 1938 to 2005 -- coming soon!

Bruckner in Vienna's Stadtpark (City Park) -- bronze bust by Viktor
Tilgner, crop of photo by Mealisland from Wikipedia Commons

Concertgebouw Orchestra (Amsterdam), Bernard Haitink, cond. Philips, recorded Nov. 1-3 1966

Concertgebouw Orchestra (Amsterdam), Eugen Jochum, cond. Live performance, Mar. 3, 1970

Vienna Philharmonic, Karl Böhm, cond. DG, recorded 1976

Orchestre National de France, Eugen Jochum, cond. Live performance from the Théâtre des Champs-Elysées, Feb. 6, 1980

by Ken

Do you notice any progression in the four clips above, of what I'm calling the "main theme" of the second-movement Adagio of the Bruckner Seventh Symphony, even though it comes maybe half a minute into the movement? We could hear it as a continuation or branch of the opening theme, but in harmony and orchestration it seems so clearly a new, benedictory idea, and an idea of such physical power, intersecting with that opening theme that it seems to me clearly a second theme, and one of such power that it can only be the "main" theme, can't it?

The progression I'm thinking of happened fairly accidentally. It started with the Böhm clip, simply for convenience -- we've heard it before, so it was sitting in the SC Archive waiting to be called upon again, and indeed for a time it saved me from having to make a new clip. Except I felt guilty that it left us starting off without reference to the conductor we're remembering, or the conductor who's our secondary focus today. So I must have made first the 1966 Haitink clip and then, still feeling guilty, the 1970 Jochum one. And still I coudln't relinquish the Böhm clip, even though it seemed to have outlived its purpose and usefulness; the problem was that I like, I really like it. Eventually, many thousands of clips later, it seemed only natural to tack on the 1980 Jochum-in-Paris clip.

Okay, so this is part 2 of our remembrance of Bernard Haitink, who died peacefully in his sleep, we're told, on October 21, at the age of 92. Since he remained active through 2019, that leaves us a heap of remembering to do, and I thought we would start with a point I kept meaning to make last week, in "Bernard Haitink (1929-2021), part 1." In fact, we've got a subhead left over from the drafting of last week's installment, when I still imagined that all our Haitink remembering could get remembered in one fell swoop. This subhead was planned to be the first of a series of them; now it seems a good way to get us started on part 2.

(1) IT'S GREAT TO BE GOOD, BUT
IT'S ALSO SMART TO BE LUCKY

That's "lucky" as in, for example, being in the right place at the right time, which in Haitink's case meant being an up-and-coming young Dutch conductor at a time when a critical need arose for just such a commodity.

He'd had a formal relationship with the Netherlands Radio Philharmonic Orchestra since 1955, and been its principal conductor since 1957, when the Concertgebouw Orchestra's chief conductor, Eduard van Beinum [right], died suddenly (though his health seems to have been iffy for a long while) following a heart attack in April 1959, creating an urgent need for a Dutch conductor capable of taking the reins of what was not just the Netherlands' premiere orchestra but one of the world's elite ones. The 30-year-old Haitink was offered the position of "first conductor" (previously given in 1941-43 to a fellow name of . . . Eugen Jochum), but there was clearly still reluctance to elevate him to the chief conductorship. For the record, Van Beinum himself had served a period as "second conductor" to Mengelberg before being made co-chief conductor, remaining as sole chief in 1945 when the orchestra severed ties with Mengelberg over his overfriendliness with the Nazi occupiers. Van Beinum thankfully had an unimpeachable anti-Nazi record.


HAITINK FINALLY GOT HIS BUMP-UP, IN 1961,
BUT PROBABLY NOT THE WAY HE HAD HOPED

Bernard Haitink (1929-2021),part 1

1st Addition: Finale of the Beethoven Ninth Symphony (added at the end)
2nd Addition: the Adagio of the Shostakovich Seventh Symphony, plus texts for the Siegfried scene (now moved toward the end of the post) and for the Mahler songs -- and, oh yes, some blocks of text.
Final Addition: Note the "part 1" now appended to the post title. Rather than continue stuffing more stuff into this post, I decided it makes more sense to spin it off into a separate post. Prime exhibit: what we might call -- if we were the sort of person who was inclined to think in such terms -- "Haitink vs. Jochum, in Mahler and Bruckner." Of course it's not really a competition (and so, as Dave Letterman used to say, "No wagering!"). Nevertheless, the careers of these two important conductors, of decidedly different generations, intersected importantly in Amsterdam in the early 1960s. Among the exhibits (and helping plug the Bruckner gap so troubling in part 1 of this post): the Adagio from Haitink's first and last recordings, from September 1966 and June 2019, thus more than half a century apart, of the Bruckner Seventh Symphony.
Wait, One Post-Final Addition: a block of text explaining the inclusion of the Beethoven Ninth finale.

Now, back to business --

FIRST, SOME QUICK MUSICAL IMPRESSIONS OF B.H.

Haitink, who turned 92 in March, remained active up to the end [well, not quite the end; I note that he did a round of "farewell" performances in 2019 -- Ed.], and is reported to have died peacefully in his sleep on the 21st of this month. Not a fancy or excess-prone conductor, but a committed and sincerely musical one -- it was a heckuva career.

HANDEL: Music for the Royal Fireworks:
i. Ouverture

Concertgebouw Orchestra (Amsterdam), Bernard Haitink, cond. Philips, recorded in the Concertgebouw, c1962

BRAHMS: Double Concerto in A minor, Op. 102:
ii. Andante

Henryk Szeryng, violin; János Starker, cello; Concertgebouw Orchestra (Amsterdam), Bernard Haitink, cond. Philips, recorded in the Concertgebouw, September 1970

SHOSTAKOVICH: The Age of Gold (ballet suite), Op. 22a:
iii. Polka: Allegretto

London Philharmonic Orchestra, Bernard Haitink, cond. Decca, recorded in Kingsway Hall, November 1979

SHOSTAKOVICH: Symphony No. 6 in B minor, Op. 54:
iii. Presto

Concertgebouw Orchestra (Amsterdam), Bernard Haitink, cond. Decca, recorded in the Concertgebouw, December 1983
[NOTE: For those unfamiliar with the strange musical beast that is Shostakovich 6, it begins with a fairly long and quite lovely Largo -- worthy of Mahler, who has to have been on Shostakovich's mind -- and then dashes into a startlingly goofy Allegro that segues into this giddy, dare I say foot-stomping Presto, about the last thing we could have seen coming from that opening Largo. AFTERTHOUGHT: I'm thinking we ought to spend some time with Shostakovich 6, perhaps with some hindsight-driven wonder at its position in the otherworldly sequence of Shostakovich's Sixth through Ninth Symphonies.]

by Ken

After I'd been thinking for a while as to what music might go into a proper Haitink memorial, I thought I'd just take a peek in the DWT Archive. I had no idea how much there is there, so at this preliminary stage, before I've given much thought to making this a proper Haitink memorial post, I thought we might just listen to a small portion of music we've already heard from him, starting with another Brahms concerto slow movement, hearing how he adjusts to noticeably different sorts of soloist -- note how he's a little more assertive with Brendel, more supportive with the more self-starting Arrau (with whom, we might recall, Haitink had already recorded a cycle of the five Beethoven piano concertos).

BRAHMS: Piano Concerto No. 2 in B-flat, Op. 83:
iii. Andante

Claudio Arrau, piano; Concertgebouw Orchestra (Amsterdam), Bernard Haitink, cond. Philips, recorded in the Concertgebouw, October 1969

Alfred Brendel, piano; Concertgebouw Orchestra (Amsterdam), Bernard Haitink, cond. Philips, recorded in the Concertgebouw, December 1973

And while we're following up on our opening selections, we might look at a very different side of Shostakovich from the jolly music we heard above: the searing Adagio of the Leningrad Symphony. Haitink, we might recall, recorded all 15 Shostakovich symphonies, split between the Concertgebouw and his beloved second orchestra, the London Philharmonic.

SHOSTAKOVICH: Symphony No. 7 in C, Op. 60 (Leningrad):
iii. Adagio

London Philharmonic Orchestra, Bernard Haitink, cond. Decca, recorded in Kingsway Hall, 1979


OF COURSE WE'VE GOT MAHLER . . .

Part 2a: As we backtrack from Mahler 5 to the Wunderhorn era, the Berlin Phil reemerges playing Mahler 4 as chamber music

Finally we hear our "(Nearly) All-Berlin Phil Mahler 4"!




Heard here twice over we have the opening minute and three-quarters of Mahler 4, up to the entry of the 1st movement's 2nd theme.

by Ken

The first clip is literally (allowing for intermediate digitizing, mp3-ifying, and blog transmission and reception) how I made my first aural contact with Mahler 4, in the Columbia Masterworks recording by the New York Philharmonic under Leonard Bernstein made in February 1960; the second clip is how Lenny B heard the music 27 years later, as executed by Amsterdam's Concertgebouw Orchestra in a live recording made by DG for his final Mahler symphony cycle -- kind of similar, I guess, but in important ways quite different. In 1987 don't you get the distinct sense that the music is figuring out as it moves where and how it's going? That under the surface, so pungently and confidently presented in 1960, there are things going on that could lead to who-knows-what? Note how in 1987, as our clip unfolds in much more varied forward movement, just as the music has really gathered momentum, seemingly toward something, it suddenly stops dead -- to give way (as we'll hear later) to the movement's about-to-sound second theme.


SINCE PROMISING "ALL OF MAHLER 4" ON SUNDAY, I'VE
ATTEMPTED SEVERAL VERSIONS OF A FOLLOW-UP POST

And the thing is, "all of Mahler 4" has been ready to go since, well, Sunday. The "several versions of a follow-up post" haven't necessarily displeased me; they just haven't gotten me where we needed to get, in Sunday Classics's blogiferous "re-creation but with added musical context" of the Mahler program that formed Episode 2 of the four-episode virtual Easter Festival that the Berlin Philharmonic's Digital Concert Hall offered to inject some live-streamed music into the time space that was to have occupied the orchestra for its real-world annual Baden-Baden Easter Festival, an early casualty of the worldwide cancellation of live performances.

[See the April 12 Sunday Classics post "Hokey-smoke, it's like we're actually in Berlin (well, sort of) for Easter week" and its successors:
• the two-paragraph "Reminder: Episode 4 of the Berlin Philharmonic's Easter@Philharmonie Festival live-streams at 2pm EDT" (April 13);
• "Do we need a reason to remember Jan DeGaetani? No, but today we do need her to sing a special song" (April 20, not even posted on Sunday but in the wee hours of Monday);
• "We hear the kinship between the Adagietto of Mahler 5 and 'Ich bin der Welt abhanden gekommen,' right? How about the differences?" (April 26, early);
• "Spun off from today's main post: All of Mahler 5!" (April 26, later);
• and this past Sunday's "Part 1: As we backtrack from Mahler 5 to the Wunderhorn era, the Berlin Phil reemerges playing Mahler 4 as chamber music" (May 3).]

In a moment we're going to hear a darned close approximation to how My Very First Mahler would have sounded, with one notable exception: that the recording was made in the Boston Symphony's acoustically legendary Symphony Hall while I heard it in the old, unimproved, but acoustically very friendly spaces of the Brooklyn Academy of Music, which I don't recall anyone ever calling "BAM" back before Harvey Lichtenstein took directorship and began working his famous miracles of restoration and repurposing, taking head-on the challenge that proper New Yorkers famously wouldn't schlepp over or under the East River to the unknown wilds of Brooklyn.

It's often forgotten that in those prehistoric days the Boston Symphony did travel to Brooklyn, something like five times a year, in tandem with its regular visits to Carnegie Hall. And for a 10th-grader who had moved to NYC just a year before, at the ripe old age of 12, while the Brooklyn Academy was an exotic destination, it didn't involve any stinking river crossing because Bkln is where he lived, and where -- at James Madison High School -- he discovered he could get a mimeographed (as he recalls) form that could be swapped at the not-yet-BAM box office, along with a dollar (yes, $1!), for an actual concert ticket!

MAHLER: Symphony No. 1: i. Langsam. Schleppend (Slow. Dragging)

So this would be just about how My Very First Mahler sounded, in the RCA Red Seal recording made by Erich Leinsdorf and the Boston Symphony on October 20-21, 1962.

BUT THIS IS A STORY FOR ANOTHER DAY; WE NEED TO GET
TO WHERE MAHLER 4 FITS INTO OUR PRESENT BLOGPATH

Preview: Preparing to attack Mahler's First Symphony

The young Gustav Mahler

Start

Finish

Concertgebouw Orchestra, Bernard Haitink, cond. Philips, recorded September 1962

Start

Finish

New York Philharmonic, Leonard Bernstein, cond. CBS/Sony, recorded Oct. 4 and 22, 1966

by Ken

Every now and then I remind myself that, while we've "done" a bunch of Mahler symphonies, including the whole of the Fourth, Sixth, Seventh, and Ninth, and while we've had posts that took us inside the first, second, and third movements of the Mahler First, we still haven't properly done the symphony.

So we've started, above, by hearing how the Mahler First starts and finishes. That's the introduction and exposition from the first movement (the Bernstein version, you'll note, takes the first-movement exposition repeat), and the final five-minute-plus chunk of the finale.

AND THEN, AS LONG AS WE'VE ALREADY HEARD
THE EXPOSITION OF THE FIRST MOVEMENT . . .