This particular Haitink performance was given on the 50th anniversary of the Dresden bombing…In Dresden, the strings have a warmly cosseting quality, the winds are mellifluous, the brass powerful but cleanly focused, while the closely balanced timpani have great impact…The voices are well balanced and Haitink’s willingness to let the music breathe while never allowing it to sag (just listen to how the first movement gains momentum) benefits Mahler’s structural design.

As to the Munich Ninth…the Munich Adagio is deeply consoling, especially at the start, truly a hymn of praise, and the way Haitink negotiates the first movement’s troubled course displays an unflinching grasp of where and when the climaxes should hit hardest…Between the outer movements’ polar extremes Haitink manages vivid reportage of the Ländler’s ribald humour and the tempered panic of the ‘Rondo-Burleske’, the latter featuring a coda that fans the flames while keeping its powder dry. The full-bodied sound has plenty of presence…This is unquestionably one of the great Ninths of recent years… © 2012 Gramophone Read complete review on Gramophone

On those very special occasions the excellence of the music and the quality of the playing and live atmosphere can combine to produce something quite special. So it is with this Profil disc.

The persuasive Haitink fashions the architecture and space of Mahler’s vast symphony splendidly, avoiding any sense of affectation. This reading feels completely spontaneous.

Right from the opening Allegro maestoso the weight, bite and sheer power of the Dresden orchestra is striking. There’s impressive pacing throughout with beautiful playing especially in the more lyrical passages. Although all sections impress I found the stunning playing of the brass and woodwind highly dedicated and perfectly in unison. The exquisitely scored second movement Andante moderato with its gentle Ländler feels so light, poised and elegant. As the music briskly develops in weight the sound produced is remarkable especially from the golden-hued Dresden strings. The writing draws on the captivating melody from Des Antonius von Padua Fischpredigt…I love the way that Haitink underlines the acerbic sarcasm.

Urlicht…from one of Mahler’s own Wunderhorn songs is the title of the fourth movement. A real highlight is the entrance of Jard van Nes, rich and mellowed toned, commencing with the words O Röschen Rot!…I believed every word, such was her expressive power and clear diction. Van Nes also has an attractive timbre and supple projection. Following on closely is the rather brief and spiritually affecting chorale. This is intoned splendidly on the brass with woodwind playing of an elevated quality. The final movement Im Tempo des Scherzos, opening with Mahler’s terrible scream of anguish, is given such tremendous weight it feels terrifying before it decays into mere dust. At 20:39 the Dresden chorus enter with the words Aufersteh’n, ja aufersteh’n wirst du…It feels mellow and tender and makes a spellbinding impact. The text O glaube, mein Herz…is sung…to magical effect by Charlotte Margiono with her secure technique and appealing tone. Both Margiono and van Nes combine with the heavenly Dresden chorus for the words O Schmerz! Du Alldurchdringer!…With singing of such quality from the impeccably matched soloists and chorus one might be excused for thinking they…had been transported to paradise. The final section begins with the familiar Viennese string sound that soon develops in sheer weight. The massed forces, including organ and percussion battery, combine in a thunderous climax; the most remarkable that I have heard on disc.

…the engineers have produced a warm sound that is clear and well-balanced. I found the substantial Profil booklet notes exemplary being especially highly detailed.

At this poignant 50th anniversary concert the magnificent playing was outstanding right from the high strings playing the softes
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