BRAHMS. Symphony No. 2 in D major, op. 73. Variations on a theme by Haydn, Op. 56a, "St Antoni Chorale'. Concertgebouw Orchestra conducted by Bernard Ealtink. Philips 6500 375 (290).

Symphony No. 2—.selected comparisons:

Philh., Kiemperer (8/61) (3/72) )R) ASD2706

Berlin P0, Karajan (11/64) 138 925

VPO, Kertesz (2166) SXL6676

LPO, Boult (12/71) ASD2746

St Anloni Chorale—selected comparisons:

LSO, Monteux (4/61) (6/71) (R) SPAl21

Berlin P0, Karajan (1/65) 2707 018

Rarely, if ever, on record has the opening of the Second Symphony sounded so gruff as in this Haitink version. His tempo is as slow as Klemperer's, and the style is even more bald in its refusal to mould notes together. Boult—substantially faster—seems by comparison positively to luuriate in expressiveness. Needless to say, Haitink used that deliberately gruff opening very cunningly, little by little letting the sunshine through the clouds, so that the soft, dolce entry of the violins at bar 44 after the dark colours sounds magically delicate and beautiful.

Broadly, this direct and thoughtful reading matches the other fine Brahms performances that Haitink has recorded.over the last year or so. This one in fact completes his symphony cycle. For myself I would always go for an interpretation not quite so understated—Boult's or Klemperer's for example. But with superbly refined string playing from the Concertgebouw beautifully recorded (with much more distancing than Boult has on HMV), this undoubtedly fills a need for those who value thoughtfulness, clarity and an unforced style above all—all qualities that have their special place in performances to be heard repeatedly in your own home.

The climaxes of the slow movement remain beautifully under control, the third movement is gentle and simple, and though the finale naturally brings more signs of adrenalin on the move, Haitink carefully integrates the great descending brass scales at the end, refusing to use them to push excitement to the limit. It is a fine performance in every way, but the even finer account of the Variations seems to me to show up what it lacks. Where the Symphony receives what is essentially a studio performance, Haitink in the Variations builds up tensions as he would in alive concert, and though style remains consistent, I find the result much more riveting, brighter and more exciting rhythmically. The swagger of the dactyllic horn variation (No. 6) is magnificent, and the coaxing rhythms of the violins in the 6/8 Graioso variation, not to mention the shadowy mysteries of the pianissimo Presto variation (No. 8) are superb. Quite apart from the extra dynamism of the performance, the recording, still characteristically warm and well-distanced in the Philips/Concertgebouw manner, is helped by a degree more of brightness. Incidentally, the generosity of the coupling means that there is no room for the exposition repeat in the first movement of the Symphony. E.G.