Eduard van Beinum was a natural Brahmsian and the Concertgebouw players have this music in their very being. The naturally shaped string line at the introduction of the symphony shows this readily and there is tonal weight without heaviness, although the timpani stokes are somewhat submerged by the analogue balance which seeks and finds a convincing overall sound picture. The performance as a whole moves onward like a fiowing river, and this metaphor applies especially to the warmly lyrical central movements. There are moments when the current runs faster, as at the very end of the work, and there is an impulsive feeling in the pizzicato passage which leads to the great horn call in the finale, but basically this is a mellow reading not lacking overall grip, but not strong on dynamism, either. It is a satisfying view for those who like their Brahms relaxed and expansive, but apart from the remarkable way a 30-year-old recording sounds incredibly fresh, losing only some of the body of timbre in the massed violins, this is not really distinctive.
The Variations are mellow too, and beautifully played (as in the symphony the wind solos are most sensitively coloured). However, what does give this CD a certain claim on the collector is Aafje Heynis's movingly eloquent account of the Alto Rhapsody, the voice fresh, not too darkly timbred in its richness. This is lovely, spontaneous singing. When the chorus enter the radiant solo line is further enhanced, integrated yet free. A truly moving performance unerringly paced.'