The guiding principle behind this coupling is a certain Apollonian quality – clarity‚ Classical proportion – that‚ in Günter Wand’s opinion‚ both these works have in common. Mozart’s Posthorn carries its weight well‚ ‘weight’ being relative to the toughened musculature of‚ say‚ George Szell’s Cleveland Orchestra. The opening Allegro con spirito’s trumpeting crescendos swell nicely in the warm acoustic of Hamburg’s Musikhalle and the pensive Andantino fifth movement benefits from a swift tempo‚ which at 3'59" is faster than any other recording I own. Jeroen Berwaerts’ posthorn playing compares with the best but if pressed to choose a library version‚ I’d probably opt for the more ceremonious Böhm or George Szell’s brilliance‚ clarity and athleticism. My other two favourites – Sir Colin Davis (Novalis) and Nikolaus Harnoncourt (Teldec‚ 1/86)‚ both of them genial and stylish – are no longer listed. As for Beethoven’s Fourth Symphony‚ this version by a near­nonagenarian Wand enters into keen competition with his own 1988 studio recording. The two readings are fairly similar save for extra breadth on this April 2001 live recording‚ notably in the Adagio‚ and a keener rhythmic ‘edge’ to the earlier version. Wand’s view of the piece‚ as espoused in the booklet essay‚ was that being light in texture it is also vulnerable to imprecision. Which is why he attends so carefully to matters of balance and articulation – save perhaps for the marginally obscured string flourishes that lead to the main Allegro vivace. Although the overall pacing falls a little short of Beethoven’s fast metronome marking‚ tempi always sound right‚ or should I say ‘convincing’. Both versions honour the first­movement repeat but I would say that if Wand’s own words are to be taken literally the earlier recording edges nearer to his precise interpretative ideal. As to my interpretative ideal‚ for what that’s worth‚ Wand in 1988 is close but the majestic Klemperer (so unforgettable at the start of the first movement’s recapitulation) and the pristine Szell (with the best judged finale on disc) are even more compelling. Wand’s new version offers inspirational confirmation of a brilliant musical mind in late maturity but I couldn’t in all honesty name it the best Beethoven Fourth around.