Haitink's 1979 recording of Bruckner's Seventh Symphony is predictably distinguished, not as classically gaunt as his earlier Concertgebouw recording, with now, where appropriate, a certain radiance and charm in the playing that suits this most agreeable and humane of Bruckner's mature symphonies. There is little choose between the recordings listed above. The sound of the Karajan on DG is fuller because the playing is more consciously eloquent. Where Haitink and Blomstedt (Denon) let the music speak through the orchestra, Karajan encourages his players to present the music to us.'