Only the sound seems detrimental to full sharpness of the lines: Lukaskirche the church's generous acoustic basses liquefies the scansion and sometimes gives the orchestra the rumor of an organ, which affects the rebound the allegro and scherzo.
However, the slow movement of the "Second" finds a heavenly sound.
The symphony Spring has fruity stamps Staatskapelle, which subtly animates the four pastoral paintings.
In the "Rhenish", agility limitless Dresdeners desks allows a final of unsurpassed virtuosity. The very prompt baton of German conductor raises the speed that takes Mercurial work in a scintillating choreography.
Proponents of a darker approach should refer to the version of Carlo-Maria Giulini with the Philharmonia (EMI).
In the "Fourth" the light texture of the orchestra Saxon similarly takes this opus to the big day than to the mysterious shadows that characterize the dark romanticism What débusquait Furtwängler.
His Germanic misty climate is dissipated by radiant approach whose vitality will not leave anyone indifferent.
If you have to choose among the full commendable, it is always necessary in the lead pack.
But do not forget the classic supercilious George Szell in Cleveland (CBS) nor the authentic flavor of the Leipzig Gewandhaus under the baton of Franz Konwitschny (Berlin Classics).
In another aesthetic: the ardor of Leonard Bernstein and the New York Philharmonic shiny (CBS), less idiomatic but a seduction so tempting!
And if you love instrumental sumptuousness, the mellifluous Wiener Philharmoniker conducted by Georg Solti (Decca) awaits you.
