Bernard Haitink: Musicians share musical memories
News
norman lebrecht
October 22, 2021
Some early tributes to the Dutch master, who died yesterday, aged 92.
Conductor Josh Weilerstein: I’ll never forget watching Bernard Haitink transform the sound of the New York Philharmonic in the span of about 4 minutes during a rehearsal of Bruckner 7. It was his first time back with the orchestra since the late 70s, and without saying a word other than “good morning,” the orchestra in his hands suddenly acquired a luminous glow that I had never heard before. Over the course of the next 90 minutes, he probably said no more than a few sentences, but it was as if the elusive magic of Bruckner’s music was being revealed more and more every minute.
A bit stunned, I went up to the podium at the break and essentially asked him if there was any secret behind the transformation I had just witnessed. He looked at me, smiled, and sheepishly said, “oh it’s just autopilot for me at this point.” I would later learn that Haitink’s modesty and humility in the face of admittedly silly questions like mine was legendary. It’s a very tired cliché to say that someone served the music, but Haitink was perhaps the best example of that mantra, with his never ending search for more and more depth in the music he conducted.
But beyond his musical legacy, he was a profoundly warm-hearted person who was always willing to speak with and to help younger musicians, all in his inimitable direct and yet kind way.
Composer Kevin Scott: On a Tuesday night sometime during the 1970s (I forgot the year – 1974? 1975?), I went to catch the New York Philharmonic in a concert conducted by Bernard Haitink. Up until then I only knew Haitink by way of his stellar recordings of Bruckner and Mahler with the Royal Concertgebouw Orchestra of Amsterdam, and one of my favorite Haitink recordings was his interpretation of Bruckner’s first symphony.
Well…that evening he did a grand concert: Haydn’s Symphony No. 95, Rachmaninoff’s third piano concerto with the legendary Jorge Bolet, Gyorgy Ligeti’s Lontano and Janacek’s Taras Bulba. Memorable is not even the word to describe this concert. It was simply unforgettable. To see Haitink take on these four piece was nothing short of miraculous. His Haydn was solid in sound, but danced with perfectionism. The Rachmaninoff was excellent on all counts, and though Haitink’s Ligeti was different from Boulez’s account of the same work, it still brought a lot of beauty to this stellar work. And Janacek? Well, I still love Karel Ancerl’s recording of this piece, but Haitink really got into the meat of this piece and brought a different perspective to this piece.
And listening to Haitink’s many recordings, whether with the RCO, the Boston Symphony, the Chicago Symphony or Berlin Philharmonic, he always brought dignity and integrity to the sound he sought from his orchestras, and his repertoire was very broad. That he delved into the symphonies of Elgar and Vaughan Williams was indeed magical, and though they may not have the same solidity that Boult brought to these pieces, he still brought wonder to its music and made it sound anew.
Well, Haitink lived a tremendous and long life. I still think his Bartok Concerto for Orchestra can stand up against the best, and his recording of many Dutch composers remain perfection personified, and though he left this world today, his legacy as a conductor will forever remain by way of his recordings, his videos and his penchant for perfection and integrity.
Dutch violinist Janine Jansen: I will never forget the Brahms concerto with him and Chamber Orchestra of Europe and the amazing feeling of calm and groundedness he gave me that was so special.
Percussionist Guido Rückel: I had one of my greatest moments in my (musical) life under the baton of Bernhard Haitink. I jumped in for Rainer Seegers, who was sick, for one concert at the concertgebouw,Berliner Philharmoniker/Mahler 4. They played this piece before, I just had a small rehearsal, had troubles to find the right sound, was really unhappy with myself. He came to me before the concert, said in a very relaxed and gentle way that he will help me, show me what he wants and we will make this symphonie together! What follows was one of the best concerts I ever had…long ago (about 1999 or so). Unforgettable!!!
Boston Symphony trombonist Toby Oft: The last time I played with Haitink was Brahms 2. At the dress rehearsal we read the symphony down and you could’ve heard a pin drop in the hall as we waited to hear any feedback or criticisms – ANYTHING to learn from this great master. After a long moment, he looked at the orchestra and smiled saying softly, “Let’s read the 1st movement again…. Just for my pleasure.” I’ll miss him dearly as I hold many moments like that in my heart forever.
Conductor Sascha Goetzel: The world has lost in my opinion one of the greatest Bruckner conductors of our time, an iconic musician without the toxifying “star” attitude – but driven by purity and honesty to the music, serving its ultimate purpose for to give beauty, being in touch with the divine, understanding our ultimate purpose of being part of the infinite circle of life.
Cellist and conductor Mark Stephenson: He was always a high point in the concert calendar, when I was playing cello in the Philharmonia Orchestra. His Bruckner left a huge impression on me and his meticulous and well judged rehearsal technique.
Nicholas Finch: Growing up my dad was a substitute cellist with the Boston symphony a great deal. He always said, any week Bernard Haitink is conducting, that’s the week you should show up to see the concert.
Nicolas Mansfield: No conductor has ever moved me as much as Haitink did during our Mahler concerts with the Dutch Radio Chorus (Groot Omroepkoor). Truly life changing experiences.
Comments