Bernard Haitink conducts Maurice Ravel

   In outburst of impressionistic music, two names are commonly cited – Claude Debussy’s and Maurice Ravel’s. Both were great composers, both created new idea of musical language. But even between these two great individuals, one composer occupies a separate although still prominent place. While Debussy’s idea was widely adopted by composers who treated it as a core of new trend, Ravel’s works imitation was very difficult if at all possible. Maurice Ravel was great impressionist, but most of his works are composed without the idiomatic elements of impressionism like blurred rhythm or vague harmonics. The secret ingredient of Ravel’s style was absolute masterity of orchestration augmenting orchestral coloristic possibilities.
   Maurice Ravel has strong connections with dance music, which was giving him an inspiration for developing phrases and melodic lines in accordance to the rules of human body movement. Also his dance music was always more than accompaniment only. Ravel described his ballet Daphnis et Chloé as a “symphonie choréographique”, which means this music was intentionally meaningful and self sufficient. Sometimes the name of the dance in title of Ravel’s work was only reference to particular moment in history and emotional context. Series of ephemeral feelings included in shimmering orchestral colors were the background of his impressionistic compositions.

Concertgebouw-Orchester plays Ravel (1987)

   Undeniably impressionistic music demands full spectrum of orchestra capabilities. Many layers of musical narration, decisive role of sound quality, fine nuances in articulation and dynamics are the features giving Ravel’s music exceptional style. The perfect recordings of Ravel’s works made by Concertgebouw-Orchestra in Amsterdam show how great this orchestra really is. From many editions of Ravel’s works played by Amsterdam orchestra conducted by Bernard Haitink, Eduard van Beinum and Ricardo Chaily, one almost forgotten masterpiece is series of performances recorded in September 1961 in Amsterdam Grotezaal. It was published in 1987 by Eterna, the East-German label of great merit in building cultural bridges over the political borders. These recordings were also reedited and published on CD augmented with recorded in 1971 “Daphnis et Chloé” Suite No. 1 by Decca Eloquence label in Australia.
   The vinyl album includes only four 1961 recordings. Perfect rendition of “Daphnis et Chloé” Suite No. 2 in sound and rhythmic changes gives nice notion of idiomatic impressionism. This work could be an emblem of impressionism, especially in fragments giving feeling the vision is full of light. The dark and soft melody of Pavane pour une infante défunte is like an answer although it was composed before the suite. The rule of contrast comes back in two pieces filling B-Side, full of sparkling humor Alborada del gracioso and symphonic Rapsodie espagnole are two works of joyous, dancing energy and subtle, silky sounds giving sense of enchanting picture. Balancing between restrained emotionalism and light cleverness Bernard Haitink gave absolutely astonishing vision of Ravel’s works and Concertgebouw-Orchestra played this with the best sound one can imagine.
   The cover of Eterna album features Max Slevogt’s painting The dancer Marietta di Rigardo. The natural size image of the Spanish dancer is in possession of New Masters Gallery in Dresden. The piece was painted in 1904, so it is contemporary to the Ravel’s music, these pieces were composed between 1899 (Pavane) and 1912 (Daphnis et Chloé). The portrait of dancing lady perfectly fits the music, showing fine example of German impressionism.

Bernard Haitink conducts the Slavic highlights

One of world’s best conductors in last decades and one of most prolific recording artists is Bernard Haitink. Born in Amsterdam, he studied in Conservatorium van Amsterdam and start career as violinist in orchestra. His rapid career became in 1954 when he started studies under direction of Ferdinand Leitner. Next year he took the post of second conductor of Netherlands Radio Union Orchestra. One year later, November 7th 1956, he made his debut with Royal Concertgebouw Orchestra (Koningklijk Concertgebouworkest). Three years later, after death of Eduard van Beinum on September 1st, 1959  he took the position of first conductor then in 1961 post of principal conductor which he shared with Eugen Jochum until 1963, when he took this post exclusively. He continued working on this position until 1988. In 1999 he was appointed as honorary conductor of Concertgebouw. In years he work with his primary orchestra, he was associated with many orchestras as a guest artist or contracted principal conductor. He was working as principal conductor with London Philharmonic Orchestra, Glyndebourne Opera, Royal Opera House Covent Garden, Boston Symphony Orchestra, Staatskapelle Dresden and Chicago Symphony Orchestra.  

In many respects Bernard Haitink is the conductor of extraordinary features. Vast majority of great conductors are individualists of extremely high self-esteem and charisma. Haitink’s charisma comes from his professionalism and diligence. Also his effictiveness was phenomenal and legendary. For this reason he’s been often drawn for most challenging performances of late romantic massive works and twentieth century symphonic music. He was widely appreciated as interpreter of nineteenth century symphonies by Beethoven, Schumann, Brahms, Tchaikovsky, Mahler and operas including operas by Igor Stravinsky he performed in Glyndebourne Opera and complete Wagner’s Der Ring des Nibelungen.  

Bernard Haitink with Concertgebouw Orchestra

The works of three Slavic composers constitute the program for the very special album of Concertgebouw orchestra and Haitink repertoire milestones - Bedřich Smetana’s Symphonic Poem No. 2 "Vltava" (The Moldau) from the cycle Ma vlást (My Fatherland), Mikhail Glinka’s Ouvertüre from the opera Ruslan and Lyudmila and Antonin Dvořak’s first five pieces from first cycle of Slavic Dances op.46. It is highly interesting album highlighting music always appreciated by public and requiring full range of both orchestra and conductor’s artistic possibilities. I guess for Bernard Haitink it was not only the matter of professional proficiency. Slavic music is not really close to musical sensitivity of artists from West Europe so he was not only the one who needs to interpret the music but also conductor creating orchestra’s style and attitude. 

The situation was even more complicated. Album was not recorded as one project. Recorded with Concertgebouw Orchestra in Amsterdam and published by Philips (6566 012) somewhere around 1970, these recordings were taken at different occasions and published before – Smetana’s Vltava in 1962, Glinka’s Overture in 1969 and Dvořak’s five parts from Slavonic dances op.46 were recorded between 1959 and 1967 – No. 1 Furiant and No. 3 Polka were recorded in 1959, No. 2 Dumka and No. 4 Sousedská were performed in 1963 and No. 5 Skočná was recorded in 1967. And it is really hard to believe these pieces were recorded in span of a decade. The rich sound of the orchestra, perfect phrasing and dramatic expression demonstrate excellent understanding of conductor’s intentions and enough good taste to catch the Slavic idiom in the perspective as it was present in romantic music.