Audition: Vaughan Williams – Symphony No. 2 “A London Symphony” (LPO/Haitink), EMI

 

Bernard Haitink’s recording of Vaughan Williams’s A London Symphony (Symphony No. 2) with the London Philharmonic Orchestra was made in December 1997 at the Colosseum in Watford. These sessions marked the conclusion of Haitink’s Vaughan Williams cycle.

Compared to his earlier, energetic Stravinsky recordings with the same orchestra, this performance is perplexing. By the end of the cycle, it was clear Haitink lacked an affinity for Vaughan Williams. The complete set is now widely viewed as a misstep, and this London Symphony epitomizes its flaws: cautious, jaded, and lacking vitality.

The first movement begins with promise, but by bar five the strings already sound remote. Haitink’s pacing is sluggish, and the playing feels flat. The Allegro risoluto is more stern than spirited. The percussion, well-captured in the recording, briefly provides some clarity, but can’t elevate the performance.

Warmth emerges briefly in the lower strings, but the brass remain bland. Even during climactic passages, the performance feels grey and unfocused. At the Animato, momentum stirs but soon fades. Phrasing turns shapeless, pacing drags, and critical climaxes—such as the quadruple fortissimo—are botched or underpowered.

The second movement starts weakly, with a sour cor anglais. The strings are lifeless, and the atmosphere fails to evoke the intended misty mood. Haitink’s phrasing is awkward, and the winds, typically rich with character, sound anonymous. The performance feels indifferent—uninspired conducting, disengaged playing, and a lackluster recording.

The third movement is similarly uninspired. Balance issues and a lack of rhythmic energy undercut its dance-like charm. A brief moment of excitement appears, but vanishes quickly. Haitink’s Stravinsky prowess doesn’t translate here; the music needs sparkle and precision, both absent.

The final movement opens with a poorly blended chord and continues with tonal murk. While the woodwinds finally emerge at the Meno mosso, Haitink’s phrasing remains stiff and the mood uncertain. A clumsy tuba entrance and oddly distant percussion typify the detachment throughout.

The symphony ends without emotional impact. Haitink offers no shaping or nuance, leaving Vaughan Williams’s evocative finale feeling flat and disconnected. It’s a dull conclusion to a disappointing cycle.

Interpretation: 3/10

Performance: 4/10

Recording: 3/10