Refinement is not a quality which one normally associates with the New York Philharmonic, even though it has been one of America's leading orchestras for many decades. Yet here, under the influence of a German musician who has been the orchestra's Music Director for two seasons, it produces a notably beautiful quality of playing. Over the years American record companies have tended to create strong, punchy New York recordings, but here again a German company has found a sound image which is clear, well-detailed, but attractively warm.
Masur's performance of the Symphony's first movement possesses an attractive generosity of spirit; and a natural, unforced lyricism is also present in a straightforward, orthodox reading. The exposition repeat is not taken, however, which is a pity, especially when Masur has a particular ability to balance a symphonic entity in such a way that each episode relates clearly to the structure as a whole. That attribute is very evident throughout the whole performance, as is the conductor's strong sense of line. The Adagio is expressive and expansively phrased within the bounds of the music's natural ebb and flow: the Allegretto has a pleasantly light texture and is delicately phrased; and in the finale Masur strikes a good, just tempo, and keeps the movement well-balanced, even though it has plenty of impetus and a well-judged climax. Perhaps one has heard more superficially exciting accounts of the last movement, but Masur's way brings its own satisfaction through a feeling of a big symphonic argument brought to a logical and just conclusion. The Academic Festival Overture is given a genial, uplifting performance.
In his performance of the Symphony on Philips Haitink caresses the music effectively but more subjectively than Masur. Collectors who want a modern full-price version of the work can decide between Masur and Haitink according to their temperamental inclination. Klemperer's mid-price reissue from 1956 on EMI has uncharacteristic warmth combined with characteristic strength: Toscanini's mid-price 1951 mono performance on RCA is more intense, but also possesses an extraordinary golden lyricism.'