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.
I have wonderful memories of Bernard Haitink from Glyndebourne days where I sang Pamina and La Contessa with him. He was definitely a ‘singer’s conductor’ who breathed every phrase and whose eyes hardly left the stage during the big set pieces. As a performer, one felt tremendously supported. He had a great sense of fun too and loved joining in the after rehearsal get togethers.
I remember a sensitive, kind and brilliant man whose legacy to music has been better expressed by others elsewhere.
Vale, Bernard and thank you
Thank you.
I recommand also the book from the early 90’s Bernard Haitink by Simon Mundy it’s easy to find it on Ebay. We learn about his chidwhood, the story of his father, when he start violine, the hard times during WWII and the moment he left the Concertgebouw not easy. Few years ago there was I think another book in german but it was not in english also I hope they will make an effort.
A thoroughly decent man (not a given in his business) and the clearest beat around. Retired to the Cotswolds.
I happened to be in the audience at Maestro Haitink’s final concert with the Chicago Symphony Orchestra, Tuesday evening, April 14, 2015 (the program was Mahler Symphony No. 7). The performance was completely engrossing, as was always the case it seems when Maestro Haitink was conducting anything. While nothing was said or announced, everyone knew that this would be Maestro Haitink’s final appearance in Chicago. The orchestra’s and audience’s goodbye to the Maestro was extremely warm and quite emotional. The applause resounded and resounded and went on and on. When the Maestro came out for the final curtain call the orchestra surprised and honored him by playing an appropriate composition. Maestro Haitink was clearly touched by this. The CSO honored the Maestro again at last evening’s concert. Upon taking the podium James Conlon announced the sad news of Bernard Haitink’s passing earlier in the day at his home with family nearby. There was an audible gasp from the audience. In remembrance of Bernard Haitink Maestro Conlon led the orchestra in a performance of Bach’s Air on a G String. RIP Bernard Haitink.
Same thing for me for his last tournée with the LSO two year ago. We knew that it was the last time and Haitink helped the audience to be more sensible and inteligente in the way the hear music
Sorry, I got the final concert date and program with the CSO wrong in my comment above. The correct date is Tuesday evening, October 30, 2018, and the correct program is Beethoven Piano Concerto No. 2 and Mahler Symphony No. 6. Apologies.
Haitink’s last concert with the CSO was October 27, 2018, Bruckner 6.
Haitink’s last concert with the CSO was on October 30, 2018 (the program was performed on October 25, October 27 and October 30, 2018). Beethoven Piano Concerto No. 2 and Mahler Symphony No. 6
Yes, indeed. The CSO gave him a Tusch after the Tuesday concert (but not the Thursday one). It’s a shame that the Tuesday concert did not sell very well, at least in the gallery.
His last concerts with the CSO were in October 2018, leading Bruckner’s Symphony No. 6 and Beethoven’s Piano Concerto No. 2, with Paul Lewis as soloist.
See: https://cso.org/experience/article/7584/bernard-haitink-1929-2021
Haitink’s last performance with the CSO was October 27, 2018. Bruckner 6th.
FYI, Haitink’s final concerts with Chicago were in October 2018, featuring Bruckner’s Symphony No. 6 and Beethoven’s Piano Concerto No. 2 with Paul Lewis.
My late wife and I were there @ the Mahler 7th. Wonderful!
We lost the biggest Mahler conductor of the history with Chailly. I recommand everthing he did for Philips in the 60’s and the 70’s and those Christmas concerts in the 80’s with every year a new Mahler symphony. It’s on youtube. One of the greatest conductors of all time for me without doubts. He was the humility and the inteligence for a conductor until the end. I only regreat that he didn’t understand that he had to leave Amserdam in the late 80’s and that after more than 20 years it was better for him and the orchestra to finish the story as musical director. But he did also great things in London and with the BPO and the WP after. the last concerts with the LSO were great.
In the 60s, Chailly was just a child and certainly did not do anything “for Philips”. You are probably talking about Haitink, so please do not call him by a wrong name.
Chailly and Haitink the two best for me in two generations differents
I think you meant Haitink, not Chailly…
I think the term ‘integrity’ does give the best description of H’s musicianship (Kevin Scott).
The very first Bruckner’s Ninth I ever heard live in concert was performed by the Concertgebouw Orchestra with Maestro Bernard Haitink conducting almost half of a century ago in the 1970s and it was such a powerful experience for me that some parts of it are still in my ears now as if it was just yesterday. He was definitely one of the greats.
A tribute on my blog: https://evansupbeatmusic.blogspot.com/2021/10/obituary-bernard-haitink-conductor.html
Interestingly, BH seems to have got on very well with musicians, and not so with management staff (esp. KCO staff). How come? They live on another wave length and their task is to fit something strong but ephemeral into a material box which is often not suited to it. BH lived on the art side of the profession, and the others tried to keep it as a commercial business, as is everywhere the case.