<\/p>
When Bernard Haitink died in October 2021, his loss was felt around the round, particularly by those who had played under him. As well as posts at the Royal Concertgebouw Orchestra, Chicago Symphony Orchestra and the Royal Opera House, Haitink\u2019s longest stint as a conductor was with the London Philharmonic Orchestra, a relationship that extended the following decade as he took on the role of music director at Glyndebourne Opera, where the LPO was (and still is) resident.<\/p>\n
We asked some of the musicians of the London Philharmonic Orchestra to share their memories of working under the baton of the great Bernard Haitink.<\/p>\n
\u2018My very first concerts as a new member of the London Philharmonic Orchestra were with Haitink; they were two Proms concerts, one was Ein Heldenleben<\/em>;\u00a0 the other Shostakovich\u2019s Symphony No. 10. I recall feeling slightly anxious \u2013 having been used to life in the provinces, I was suddenly playing in a world-famous venue, in a big-time orchestra, with a renowned conductor. When we started playing the symphony, any angst I had initially had was quickly dispelled by\u00a0 Haitink\u2019s benign smile. I sensed he knew what I was going\u00a0 through; indeed he had a unique ability to make everyone feel essential and needed. He was one of my absolute favourites.\u2019<\/p>\n \u2018I was leader of the London Philharmonic Orchestra during the first nine\u00a0 years\u00a0 of Bernard Haitink\u2019s tenure with the LPO. I was then appointed leader of the\u00a0 New York Philharmonic. With these two orchestras I was privileged to work with the greatest conductors of the second half of the 20th century, and if I was\u00a0 to make a list as to who constantly produced the highest level of uniformed orchestral energy and respect, Haitink would be first on my list.<\/p>\n He received, through his powerful yet modest personality, a clarity and atmosphere of total respect from all the musicians as he expected and received our very best efforts. Rehearsals were free of lectures, as he had complete trust in our instrumental abilities.\u00a0 I missed him very much when I left the LPO. I missed his honesty, modesty, loyalty, friendship and sense of humour \u2013\u00a0 but most of all I missed playing the great literature with him.\u2019<\/p>\n \u2018Bernard Haitink exceeded my highest expectations when I first played for him.\u00a0 The two\u00a0 main works were Mahler\u2019s First Symphony and Beethoven\u2019s \u2018Eroica\u2019. He had a remarkable combination of solidity and artistic flexibility. You felt you could trust him and this brought out the best in all of us. He knew what he wanted and was able to convey it in a collegial manner, but there was no doubt\u00a0 that he was going to get what he wanted! He had great warmth and a quiet sense of humour.<\/p>\n I remember at one rehearsal the violins played a passage with great schmaltz. He stopped and said, \u201cPlease \u2013 I am only Dutch!\u201d. As I moved towards conducting, Bernard allowed me to attend his rehearsals in Amsterdam and to meet and answer questions, which showed he was an absolute \u2018natural\u2019. He was\u00a0 most supportive after I left the LPO and would encourage me if he liked one of my broadcasts. I feel privileged to have known and worked with him and only wish he could have enjoyed a longer retirement.\u2019<\/p>\n \u2018I was in the London Philharmonic Orchestra when Bernard Haitink\u2019s LPO career began in the BBC\u2019s Maida Vale\u2019s Studio No. 1, where the young Dutchman conjured an insightful recording of Bruckner\u2019s Third Symphony with the entire orchestra breaking into spontaneous applause after the red light went out.<\/p>\n Within a few months he was approached to become the orchestra\u2019s next principal conductor, and during the following 12 years he transformed the orchestra\u2019s reputation, with subsequent years at Glyndebourne confirming it before finally becoming its most distinguished guest conductor.\u2019<\/p>\n \u2018I first played for Bernard Haitink in 1967 and count myself extremely fortunate\u00a0 to have known and worked with him for over 50 years. Our relationship, professional and personal, matured slowly. It deepened through my time as LPO Chair and moved to a new level during the Southbank residency negotiations, at the end of which he agreed to become the orchestra\u2019s president.<\/p>\n Bernard\u2019s musical integrity and generosity of spirit is well documented; less publicly celebrated were his kindness, warmth and generous support for individuals away from the podium, something I experienced first hand.\u2019<\/p>\n \u2018I was the youngest and least experienced member of the LPO when I joined it, and could feel Bernard\u2019s support through the ether as I learnt the repertoire. Playing for him was akin to making chamber music, with everything going up so many levels as he became excited or,\u00a0 in more reflective music, took himself to some other celestial place.<\/p>\n It was also the orchestra\u2019s joy to support him at Glyndebourne as he moved into and developed his work in opera. It was a privilege to be a very tiny part in what he achieved in life.\u2019<\/p>\nRodney Friend: Leader (1964\u201376)<\/h2>\n
Christopher Seaman: Principal Timpanist (1964\u201368)<\/h2>\n
Michael Boyle: 2nd Bassoon (1962\u201389)<\/h2>\n
David Marcou: 2nd Violin, Chairman, twice Interim Managing Director, then Deputy Managing Director (1967\u201395)<\/h2>\n
Patrick Garvey: 2nd Horn (1973\u201385)<\/h2>\n