Bernstein's performances of Mozart's last six symphonies were issued separately but are now collected on three LPs, cassettes or CDs. In his original review, EG complained of a lack of inner clarity in tuttis, but I can't say that I find this to be much in evidence on CD. It may surprise some collectors to discover what a well-behaved Mozartian Bernstein is. If the ECO/Tate performances (available individuality on LP, cassette and CD from EMI) are to be preferred, it is not on interpretative grounds but only if one feels strongly about the need for a generally smaller orchestra. I cannot see how anyone could prefer original-instrument performances, in my experience four-square and woefully inexpressive (perhaps I've been unlucky), to these sensitive and expressive readings by a conductor who, whatever his failings may sometimes be, is never unmusical and very, very rarely unstylish.
Bernstein's use of a larger body of strings does not unbalance the sound or seem 'unauthentic'. I was told that Boult always refused to reduce his strings for Mozart, maintaining that any orchestra worth its salt ought to be able to produce a lighter tone. If Bernstein also subscribes to this view, the Viennese players certainly back him up. When there is a heavy barrage, as at the start of the Haffner, one feels that it is deliberate, not an acoustical freak; it is not long before the playing, electric in vitality, is dancing along on tiptoe, as it were. The interplay between sections is felicitously managed and how blithe and flowing is the playing of the slow movement. The finale is nearer to prestissimo than presto, but such is the understanding between conductor and orchestra that no gears are crashed.
Only No. 39 receives a rather unimaginative performance. Bernstein's sympathies seem to be more closely engaged by the Prague, which he does magnificently, with a noble introduction, an operatically slanted allegro and enchantingly plaintive phrases in the great Adagio. The G minor, too, is admirably paced, and there is a resplendent Jupiter, classically sculpted, with the finale repeat observed (and an audible tape join). In some ways, the pearl of this collection is the Linz, so much conveyed by one stroke on the drum, the trumpets and wind blended well, the oboe-bassoon dialogue in the Trio superbly played, the finale sparkling. I suppose some may say that three CDs is extravagant for these symphonies, to which DG would, I imagine, reply that only thus have they avoided breaking a symphony between discs. It is a fair defence.'