Bernard Haitink, London Symphony Orchestra - Bruckner: Symphony No. 9 (2013) [SACD]

But such is Haitink’s mesmeric control of the symphonic structure that not for an instant did the performance ever seem too slow, quite the contrary in fact. Both the opening movement and the wonderful final ‘Adagio’ unfold with a resolute purpose and a natural underlying pulse that only the greatest Bruckner conductors can achieve. In between these two monumental edifices, the ‘Scherzo’ is delivered with relentless thrust and precision. The response of the LSO players to their veteran conductor is unconditional commitment. He knows exactly what he wants from them and they deliver it in spades. The large LSO brass section, especially the four noble sounding Wagner tubas, cover themselves in glory, capping climaxes that threaten to overwhelm the listener with their shattering power.
As on Haitink’s 2011 release of Bruckner’s 4th Symphony Bruckner: Symphony No. 4 – Haitink the engineers have done an excellent job in achieving a convincing sense of an ample acoustic space in the difficult Barbican acoustic. The 5.0 multi-channel recording is clean with a pleasing presence, and, in spite of the huge dynamic range, it remains free from congestion.
This is an utterly compelling performance of Bruckner’s valedictory symphony, and though one envies the audience who were lucky enough to attend these concerts, for those who didn’t this fine LSO Live release is the next best thing.
By Luukas:
Bernard Haitink’s previous Bruckner recording on LSO Live (Symphony No. 4) was outstanding: recording quality is terrific and London Symphony Orchestra played magnificent. But now, the 85 years old maestro leads London Symphony Orchestra in great mysterious adventure in this new recording of Bruckner’s last, unfinished work, Symphony No. 9.
Haitink is excellent Bruckner conductor: he conducts this music as he breaths it. The long, massive first movement sounds very good; Rattle’s tempi are faster (Emi Classics) but Haitink’s understands Bruckner’s last feelings, and he conducts very emotionally. The demonic second movement is stunning: orchestra’s hitting D rhythms sounds frightening and fast trio (in F sharp major) sounds also excellent. And, the last slow farewell movement is very touching and brass’ quiet E major chord tells that the end is near.
By the way, wonderful performance and outstanding recording too. Orchestra’s tone is natural and deep, and Barbican sounds very good concert hall (at last).