eMusic Review 0
"Apotheosis of the dance" is the epithet that has dogged this symphony since Richard Wagner made the observation in an 1849 essay, a commentary on the piece's emphasis on rhythm. This is particularly evident in the finale — no long melodies here, just the obsessive repetition of an Irish-reel-like tune — especially in Bernard Haitink's swift, taut, punchy performance. In the second movement, he never lets the lamenting, floating melodies bog down the relentless march tread underneath. (Or vice-versa, for that matter.) A feeling for dance rhythms (buoyant here, rather than obsessive) also mark this performance of Beethoven's generously-proportioned Concerto for violin, cello and piano.