I heard Muti conduct these two works in London almost ten years ago, when his interpretations seemed only partly formed and somewhat unfocused. This new issue shows a very different picture, and it is clear from his overall view of the music, and from his acute, very delicate pointing of small details, especially in the symphony's first movement, that he now very much has the music in his bones. There is in fact a somewhat avuncular quality in his conducting, and not at all the impression of a dashing Italian maestro. The first movement is unfolded at an easy, relaxed tempo but the mood is serious and purposeful, and the argument is presented in a large-scale, firmly-moulded fashion. But there is warmth and humanity in the phrasing, too. Sometimes progress seems to falter very slightly, but the Philadelphia's powerful, superlative playing carries the day.
The Andante has similar characteristics, and moves forward easily at a moderate tempo and in almost benign fashion. Detail is again closely observed and there is a strong element of grace. But I do feel that the movement's ending is too long drawn out. In the third movement Muti's response is quite blunt and bracing, to make an effective contrast with the first two movements. But his approach is all of a piece here too, since there is a good deal of breadth in his conducting, as there is in the finale, where he maintains a clear sense of line through the movement's varied episodes to a strongly expressed climax. A weighty, concentrated account of the Tragic Overture completes a satisfying issue. The recording is powerful and wide-ranging, with vivid detail and a lively acoustic, though the balance finds the timpani a little out of focus.
Karajan's account of the symphony on a mid-price EMI reissue (coupled with Liszt's Les preludes) shows, like Muti's, considerable warmth of phrase and a large-scale, unhurried approach to the score. He is more objective than Muti, and shows less concern for detail. His overall grasp of the work's architecture is ultimately more powerful and he provides the greater symphonic experience. Though his recording dates from 1955 absolutely no allowance has to be made for its age. Carlos Kleiber's much more recent DG recording is in fact rather less euphonius, but he offers a performance which is not only masterly from an architectural point of view but has great passion drive and excitement. The difficult finale, in particular, is a masterpiece of conducting. His disc has no fill-up but remains the outstanding available version.'