This new LSO Live release is the first installment in a projected Brahms Symphony cycle, making it the third such undertaking by Bernard Haitink on disc. As with his earlier recordings with the Concertgebouw Orchestra and Boston Symphony (both on Philips), Haitink’s sense of color and emphasis on melodic line make much of the Second Symphony’s melting lyricism and lush orchestration. However, his approach to the sunny first movement has mellowed over the years, as there is noticeably less propulsion and spontaneity than in his free-flowing Concertgebouw reading–although he maintains the same level of conviction and structural grasp. The second movement benefits from Haitink’s latter-day penchant for rich, full sonorities, and after a daintily rendered scherzo, the finale surprises with its vibrant athleticism. Here the orchestra, which has been playing handsomely throughout, suddenly takes on new life and edge as it races joyously through to the great closing trombone blast.
Haitink also made two prior Double Concerto recordings with the Concertgebouw (Philips and EMI), both generally fine readings. This new version is only slightly less energetic than his prior efforts, with the London Symphony again providing beautifully cultivated playing. Gordan Nikolitch and Tim Hugh offer probing renditions of the solo parts, with some truly heartfelt exchanges in the Andante, even if the duo isn’t in the same league as Oistrakh and Rostroprovich on Szell’s classic EMI recording. Again, it’s in the finale where Haitink really turns on the juice, with quick tempos and tight phrasing, bringing the work to a compelling close. That leaves us with the recording’s sound, which, despite the deployment of advanced DSD technology, has considerably less warmth and spaciousness than the 1970s Philips analog productions. Nevertheless, it remains an attractive bargain for anyone interested in the specific works on this generously programmed, budget-priced coupling.
