This is also the homogeneity of the cycle will make the value of the box here, especially compared to its contemporary competitors, and it seems to me that the most successful example good neutral and much more integral "Symphony" by Bernard Haitink Yet with a better orchestra (Amsterdam Concertgebouw) uninteresting in symphonies 1,4,5,6 and 8.
This integral, however, is now outdated by modern integrals Chailly and Gielen (personally I'm not a fan of Benrstein / DG, which I believe disfigures the works, and I do not know Boulez).
Everywhere Kubelik demonstrated great musicality: we feel that he has understood the composer and restores the message with simplicity, optimism, without pathos, always with lively tempos, lengths without (too much sometimes, the 6th!) exaggerated. It all feels a joy to play together (especially in the 7 and 8), and exalt modernity of these partitions, even if the band is not always beautiful (strident trumpets).
We can criticize here and there a lack of breathing, head of the obsession for the articulation of phrasing sometimes bordering stiffness and twitching, and malheureusmeent catch of his property that betray hard, flat space and depth the orchestra as desired by the composer.
In parallel, the Audits publisher recently released leader of the concert band with the same orchestra for each of the symphonies and Song of the Earth (with Janet Baker!) That the head was not engraved on DG.
These concerts, I know that the 3rd, 5th, 7th and 8th. In general, these concerts without being essential, are great successes, (except maybe the 5th I sometimes found too aggressive with vraiments strident brass in the funeral march), montrants sometimes more flexibility and freedom in the studio full, but at the expense of course the strength and security offered it.
An integral nice to (re) discover so.
