BR Klassik, the Bavarian Radio label, has just released a recording of Brahms’s Variations on a Theme by Haydn, performed by the Bavarian Radio Symphony Orchestra conducted by Herbert Blomstedt. The BRSO is undoubtedly the finest orchestra in the world. With an ethereal texture whilst revealing a dizzying depth of sound, the ensemble’s tonal palette is beyond reproach, and there is no doubt that it continues to improve year on year! But let us turn to Blomstedt’s interpretation. The conductor is a seasoned interpreter of Brahms, having recorded his symphonies on several occasions, and I invite you to listen – or to listen again, and many more times in the future – to the 2nd, 3rd and 4th, released relatively recently on Pentatone, with the legendary Leipzig Gewandhaus.

This interpretation of the Variations on a Theme by Haydn reflects a wealth of experience and a profound, sensitive engagement with Brahms’s work. The interplay of textures is absolutely marvellous, and, above all, one particular aspect stands out. This is, of course, Blomstedt’s resolutely Apollonian approach. Light radiates from every phrase. Moreover, the virtuosity of the musical gesture strikes any music lover familiar with the work even more deeply, given the grandeur of the gesture in a narrative piece that builds tension. Dialogue lies at the heart of Blomstedt’s vision; with radiant joy, he allows each section to flourish and lets an organism breathe that seems not only to unfold, but to awaken in the light. It is enchanting! It is as though these woodwinds embody happiness all on their own! The scope of the ornamentation and the unfolding of each chord in Variation IV is pure genius! Blomstedt dares to make certain choices that are nevertheless difficult to sustain, alongside the slow tempi, with ornamentation and the play of contrasts. His genius is also evident in the skilful balance between bringing out each section – particularly through legato – whilst simultaneously highlighting certain contrasts through rubato, with incredible flexibility – this suppleness is worthy of Furtwängler! – and an extraordinary sense of counterpoint! And yet, the whole thing remains so natural, even though we can hear the entire score!

This is, of course, a particularly erudite interpretation, but it also displays a sensitivity that almost verges on naivety. One feels as though one is discovering the work step by step, even if one knows it by heart! From this Apollonian perspective, I believe this is the most beautiful version I have ever heard! The interpretation is more taut than Celibidache’s, and above all there is a very strong sense of commitment here despite everything; yet at the same time, naivety – in the best sense of the word – never gives way to sentimentality.

Beauty seems to lie at the heart of Blomstedt’s vision here. On the one hand, as a unifying force, through a gesture that reconciles dualities within a single, sweeping gesture. And on the other hand through its serenity, and that indescribable smile! A smile that is also embodied in an extraordinary vitality, as in those teeming – and equally rich in detail – Variations V, VI and VIII. We soar far, far above who knows what! And we feel at ease. And yet one finds oneself lost in thought! It is a performance that stems from interpretation, in the noblest sense of the word, and which, above all, opens up a sense of fulfilment, rather than simply drawing to a close. One of the finest orchestral recordings of the year, without a doubt, and one of Herbert Blomstedt’s finest performances – and, of course, of the Variations on a Theme by Haydn.