Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long and intensive artistic collaboration, which came to an abrupt end with Haitink’s...

Dutch conductor Bernard Haitink and the Bavarian Radio Symphony Orchestra enjoyed a long and intensive artistic collaboration, which came to an abrupt end with Haitink’s death in October 2021. BR-KLASSIK now presents outstanding and previously unreleased live recordings of concerts from past years. This recording of Bruckner's Seventh Symphony documents concerts given in November 1981 at the Herkulessaal of the Munich Residenz.

Haitink first conducted a Munich subscription concert in 1958, and from then on was a regular guest with the Bavarian Radio Symphony Orchestra – either at the Herkulessaal of the Residenz or at the Philharmonie im Gasteig. This congenial collaboration lasted more than six decades. The orchestra musicians and singers enjoyed working with him just as much as the BR sound engineers. As an interpreter of the symphonic repertoire, and especially that of the German-Austrian Late Romantic period, Haitink was held in high esteem throughout the world. With him, the symphonies of Anton Bruckner were always in the best of hands. His driving principle was to make the sound architecture of a musical composition, with its complex interweaving, transparently audible; extreme sensitivity of sound was combined with a clearly structured interpretation of the score.

REVIEW:

Haitink was a master at pacing large symphonic structures with impeccable, understated eloquence. Few pieces reward this skill like Bruckner’s Seventh, and here he shapes with just enough momentum to propel the vast opening movements onward without sacrificing the music’s sonic splendor. The Bavarian Radio Symphony Orchestra plays with a refinement that’s expected, and a transparency that surprises. The ensemble’s brasses are appropriately potent at the work’s many apexes, but they impress even more when the score calls for delicacy and restraint.

Bruckner front-loads so much in the first two movements that the other half of the symphony can feel like an afterthought. One additional virtue of this account is that Haitink makes the mazelike finale spring with energy, charm and a constant sense of wonder.

-- New York Times (David Weininger)