Like Karajan (DG), Sawallisch elects to record the original 1866 Linz version of this symphony. It is often pointed out that the Symphony No. 0 of 1863-4 has more in it of what we now recognize as the essential Bruckner than No. 1, but I don't think anyone listening to this performance would be in any doubt of the composer's identity. Sawallisch's tempos are generally faster than Karajan's, yet his overall view of the work gives the impression of being more relaxed. Karajan's 'big-band sound', his portentous phrasing of the Adagio's first subject and the rather four-square Scherzo seem to be trying to invest the music with more weight than it wants or needs to carry. This is a lyrical work, with a vernal freshness that makes its absence from concert programmes hard to understand. Even at this early stage of his development, a Bruckner adagio has an unmistakable and special devotional quality. Sawallisch's tempo allows this to emerge, but his unforced phrasing, letting the music unfold in gentle curves of melody, stresses the kinship with Schubert that is a still under-emphasized feature of both early and late Bruckner. The rustic Scherzo has great charm, with delicious woodwind playing, and the finale, the weakest movement structurally, is never allowed to sag. The recording is not so overpoweringly resonant as Karajan's, with a careful balance between strings and brass. If anything it tends to be bass-heavy but I found that this could easily be corrected.'