Haitink's second Beethoven cycle was greeted warmly by RO when it first appeared (6/88), reservations about the Second Symphony (''curiously lacklustre'') and the extra Egmont Overture (''rather dowdy'') notwithstanding. I'm not sure I agree about No. 2, which certainly held my attention, Haitink's virtues of textural rhythmic clarity well in evidence—except possibly in the somewhat pedestrian Scherzo. Nor did I find the Pastoral quite as ''buoyant''—at least not in the scherzo or the rather too well-mannered Storm. I would agree though that Haitink is often at his most impressive in the allegedly 'lighter' symphonies; Nos. 1, 8 and especially No. 4 are very enjoyable—vital, flexible, elegantly shaped and balanced, and thoroughly civilized.
Perhaps the problem with the Eroica, Fifth, Seventh and Choral Symphonies is that they are a degree too civilized. All the virtues listed above are evident here, but this is no vision of a Beethoven—as one critic put it—''storming heaven with his boots on''. The Concertgebouw, marvellous band as they are, sound entirely comfortable with this music; it appears to present no serious challenges. If you appreciate the sense of risk, of players pushed to the limits, so thrillingly restored in concert by Roger Norrington, and more recently John Eliot Gardiner, don't go looking for it here.
Still, there is more than one way of approaching any great work, and for most of this set RO's phrase ''intensely agreeable'' seems a good, bite-sized summary. Tempos almost always seem well-chosen—except perhaps the slowish Scherzos of Nos. 2 and 4—and it's good to find Haitink taking a less extreme view of scherzo-trio contrasts in No. 7 (and observing all the repeats in the Scherzo). The recordings have lost none of their virtues—breadth, depth, clarity, warmth of tone—in the transfers.'