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An emotional night in London as Bernard Haitink says farewell to London with grand and searching performances of Bruckner and Beethoven, with the distinguished Emanuel Ax in tow.

So full of youthful vigor was this concert that it was hard to believe that Haitink is now 90 years old.

A concert repertoire played by the fine Bavarian Radio Symphony Orchestra, Bernard Haitink conducting, was a promising alliance for the last concert of this year’s Easter festival in Lucerne.

A wonderful evening of unforced, smiling music-making from Bernard Haitink, Isabelle Faust and the London Symphony Orchestra. 

Bernard Haitink conducts an extraordinary account of Bruckner's Fourth Symphony. 

Bernard Haitink celebrated an early 90th birthday conducting the Bavarian Radio Symphony Orchestra and Chorus in a searching, joyous account of Beethoven's “Choral” Symphony.

Bernard Haitink delights at the Concertgebouw in two great symphonies from masters of the 18th and 19th centuries. 

The Chamber Orchestra of Europe under conductor Bernard Haitink dazzled the Lucerne Festival audience with a programme of works by Mendelssohn and Schubert. 

Bernard Haitink's annual visit to the Boston Symphony brought autumnal Brahms with the Second Piano Concerto and the Second Symphony.

Supreme virtuosity and serene leadership from Bernard Haitink make for a moving night at the Philharmonie

This was the second of Bernard Haitink’s Barbican appearances with the London Symphony Orchestra mostly drawing on the Austro-German orchestral tradition in electric and efficient perfromances. 

Bernard Haitink always provides intelligent symphonic readings and in his interpretation of Brahms' Third, he brought a lifetime of experience to the piece. 

Close to the start of this summer’s Lucerne Festival, Bernard Haitink conducted an outstanding performance of Mozart and Mahler works that span the centuries.

Conducting the Chamber Orchestra of Europe and accompanying Isabelle Faust in Mozart's G major concerto, Bernard Haitink stresses classical proportions in two symphonies by Mozart and Schumann.

The conductor favours measured tempi and unfussy direction, allowing the work to stand mountain-like as an expression of its own intrinsic magnificence.

Bernard Haitink and LSO forces explore contrasting aspects of two late works by Bruckner.

Bernard Haitink conducts the London Symphony Orchestra in a deeply moving account of Mahler's Ninth Symphony at the Barbican the day after the tragedy in Manchester.

Bernard Haitink returned for his yearly visit to Symphony Hall to conduct a program which embraced the Classical, Romantic and Modern.

Bernard Haitink receives accolade after outstanding performances of Debussy and Bruckner.

Bernard Haitink’s musical insight and interpretative genius continues to mature like a vintage Château Pétrus.

Many think that Bruckner’s Eighth Symphony points to a kind of cosmic grandeur, and little else can match the power and excellence of its finest performance. The Lucerne concert proved them right.

Bernard Haitink doesn't disappoint in a mature, considered reading of Mahler's epic Third Symphony. 

Monumental, cataclysmic, terrifying, heroic, ethereal, transcendent: this was Bernard Haitink's performance of Strauss' vast final tone poem.

Bernard Haitink at the helm of the New York Philharmonic for a Mahler 9 without any sense of routine. 

Bernard Haitink and Murray Perahia bring a lifetime of experience, frequent collaboration, and an evergreen musicianship to bear on a program of Beethoven and Mahler.

The was an absorbed performance that let the composer's voice resound more strongly than the performers' own. The result was an atmosphere of apostolic devotion.

A memorable programme of Schumann from Bernard Haitink and the Chamber Orchestra of Europe. 

Following their hugely successful Beethoven and Brahms cycles, Bernard Haitink and the Chamber Orchestra of Europe returned with Schumann’s symphonies and concertos.

Broad tempi and a measured steer from Bernard Haitink led to a concert somewhat lacking in vigour and energy.

Bernard Haitink presides over a performance of Mahler’s Fourth Symphony with the London Symphony Orchestra which was “Just So” – everything in its place.

As musicians, conductor Bernard Haitink and pianist Maria João Pires have certain qualities in common – they both display a serenity, exquisite control and a dedicated yet no-nonsense attitude to performance.

Bernard Haitink and the LSO in fine form for an all-Beethoven programme, but the 'Glorious Ninth' fails to impress.

Conductor Bernhard Haitink recently tackled the great “kaleidoscope” of Mahler’s Seventh symphony to the delight of a Zurich audience.

Venerated Dutch maestro leads the Chicago Symphony Orchestra in one of Mahler's less familiar symphonies

A rapturous Second Piano Concerto and a towering Fourth Symphony made Bernard Haitink's all-Brahms concert with the Chamber Orchestra of Europe memorable. 

Bernard Haitink and Mitsuko Uchida took a traditional approach to this core repertoire, yet produced performances that sounded anything but dated. 

Haitink's Bruckner is begining to show signs of his age, but occasional problems of stamina and focus were of little consequence to this otherwise powerful and authoritative reading.

For this diamond jubilee as a conductor, Bernard Haitink conducted the Netherlands Radio Philharmonic in a programme of Wagner, Berg and Mahler. 

Bernard Haitink and the London Symphony Orchestra explore musical perspectives on youthfulness and memory with a programme of Schubert's Fifth and the songs of innocence and experience woven into Mahler's Fourth.

Bernard Haitink and the Chamber Orhcestra of Europe perform Ravel and Mozart in a display of astonishing orchestral playing.

Bernard Haitnik celebrates his 85th birthday with outstanding accounts of Berg and Beethoven in a moving evening at the Barbican. 

The New York Philharmonic has a distinguished history in Mahler, as does Bernard Haitink, but this Mahler Third didn't quite work.

Bernard Haitink and Leonidas Kavakos join the New York Philharmonic for a programme of Webern, Berg, and Beethoven.

A grave and weighty “Jeunehomme” from Emanuel Ax, and after a Romantic first movement, Haitink and the Berlin Philharmonic power through Bruckner's Symphony no. 4 in E flat major.

What a fine Mozart orchestra the LSO became under the benevolent gaze of Sir Colin Davis, and with Bernard Haitink on hand as a regular guest conductor, what a fine Mozart orchestra they shall continue to be. Their annual concerts at Lincoln Center this year paired Mozart with Shostakovich, the latter a composer in whose music it would be easy to forget that Haitink has considerable experience.

Mozart’s Piano Concerto no. 9 and Shostakovich’s Symphony no. 4 are pieces of music from completely different ends of the spectrum. The lightness of the concerto is not to be found in the monumental symphony, and the only common point is that both pieces were written by the composers at a very young age (Mozart was 21, Shostakovich 24).

It was only through a litany of roster changes that the Orchestra Mozart’s London debut at the Royal Festival Hall took place at all. Beginning with Claudio Abbado and Martha Argerich down to play Haydn and Mozart, a dual cancellation meant Bernard Haitink and Maria João Pires had to step in at what may as well have been the last minute.

The London Symphony Orchestra presented the themes of the first movement of Beethoven’s Second Piano Concerto very nicely indeed, benefiting from the clarity, moderation and wisdom with which a lifetime of experience has endowed their conductor for this concert.

It was in the 1790s, when Haydn came to England at the invitation of London-based impresario Johann Peter Salomon, that the twelve 'London' symphonies were composed. They were to be Haydn's last essays in the genre, examples in which, he said, he had to 'change many things for the English public'.

Beethoven's music in general, and the Fourth Piano Concerto in particular, is on the cusp between the Classical and the Romantic: the Classical forms are stretched to their limit but left unbroken, while Beethoven provides plenty of opportunity for a Romantically-minded interpreter to charge off in any number of wild directions.