As one of its chief virtues, Bernard Haitink’s 1970s Brahms symphony cycle exhibited the distinguished playing of the Concertgebouw Orchestra. Indeed, the orchestra sounds gorgeous throughout the Symphony No. 1, with the brightly colored winds (especially in the third and fourth movements) and distinctive brass timbres, as well as a crystal clear ensemble balance that allows much inner detail to be easily heard, even in the first movement’s more dense passages. While you won’t hear the singing warmth of the Vienna Philharmonic strings, the Amsterdam players cultivate their own coolly beautiful sound that imparts a pleasing resonance.
Haitink chooses basically middle-of-the-road tempos, and his moderately energized conducting presents Brahms’ musical arguments with a satisfying cogency. No, this is not a dramatic or emotionally involving rendition in the manner of Munch, Solti, or Giulini; rather, like Dohnanyi’s, it’s one that you can enjoy simply for its superlative orchestral playing. That said, the Tragic Overture really needs more fire than Haitink musters here, and his Academic Festival Overture is a little too cozy and careful. (Look to Bruno Walter for really compelling accounts of both works.) Still, at the budget price, Haitink’s is a good starter Brahms First. Philips’ sound has good presence and spaciousness, with true balances, though it’s somewhat lacking in low bass.
