At once a mellow, thoughtful quality is in evidence as Haitink conducts the opening of the Second Symphony. His music-making is straightforwardly honest, whole-hearted, very unselfconscious, and one is made to feel a very welcome listening guest. As the movement develops immediately attractive characteristics are supported by an underlying strength, balance and architectural clarity. Such a combination of qualities suits Brahms's mood at this point very well. The second movement has a slowish basic tempo which could perhaps lead to dullness and stagnation, but Haitink conducts watchfully and caringly. Positive elements of warmth and affection are again to the fore, but communication with the listener remains strong. Haitink's approach to the third movement is quite gentle too, but he encourages light accents and rhythms, so that the personality of his performance is still open-hearted and uplifting.
In the finale Haitink adopts a fast basic tempo. The change in dynamics at bar 22 is quite explosive, and it seems that we shall have one of those readings where a contrast between this movement and its predecessors will be strongly emphasized. I often find such a ploy disruptive and unconvincing, but the experienced Haitink takes a slightly different path. Although the pace of his performance has quickened there is no undue force involved. The music still has room to breathe easily, and there is no abrupt change of mood. The big climax at the end of the work has plenty of freedom and spirit, but ultimately it makes a greater effect through being kept in proportion to the rest of the movement than if it had been allowed an excitable immediate impact. Haitink has again let the music's expressive elements flow while keeping an eye on structure and balance.
The Tragic Overture seems to be painted on a larger canvas than usual. The basic tempo is quite slow, but accents are sharp and dramatic. Here and in the symphony the playing is superlative, and apart from an odd moment of slightly acid string tone the recording is excellent.
Riccardo Muti's performance of the Symphony is similar to that of Haitink in being expressive, romantic but well-balanced. Both these versions are on Philips, and are the best of the newer full-price issues. At mid-price Klemperer on EMI brings much strength to the score, plus uncharacteristic lyricism, in a clear but somewhat unvarnished 1956 recording. Toscanini, on mid-price RCA, finds a wonderfully satisfying combination of warmth, clarity and energy. His performance is captured in efficient 1952 mono sound.'