MUSIC:
Brahms’s symphonies are hardly neglected repertoire today. But the lack of insight and expressive engagement in so many modern performances is becoming alarming. Plush, luxurious sound seems to be the ideal - to the point where it virtually excludes anything else: phrasing, rhythmic drama, a sense of structure as a living force rather than as a set of dead demarcation lines.
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But one can normally trust Bernard Haitink to take a more considered view, and that’s how his new version of the Third Symphony comes across. Traditional modifications of tempo that don’t make sense to him are simply ignored. Instead, his is a performance that moves and breathes according to its own laws: the long, ardent opening theme rises and falls like a great, slow wave; the pace of the gentler second movement seems just as beautifully judged - mobile but subtly flexible. So this is a performance of real musical insight - but what about expressive engagement? Well, Haitink and the Boston Symphony Orchestra are hardly inexpressive, and there’s some lovely dark colouring in Brahms’s moodier pianissimos.
Elsewhere, though, there’s a faceless, anonymous quality, especially in some of the wind solos. And, while it sometimes glows, this Brahms Three never quite bursts into flame.