This orchestra's native Schubertian instincts are as often hampered as harnessed by Muti's control, yielding less distinctive local colour and spirit than you might expect; and the sound-the cycle was recorded in the Vienna Musikverein between 1986 and 1993-though skilfully balanced, ample and splendidly bass rich, is only moderately informative given today's raised expectation of textural yield by period-instrument groups (Norrington, Mackerras), modern chamber orchestras (Abbado, Marriner), and even modern full orchestras persuaded to play in a historically aware style (Harnoncourt).
It is probably recent exposure to all of the above-named that made me sigh at the Ninth's slow movement, which has not much in the way of a con moto and a compounding heaviness of articulation (there are, of course, plenty of 'traditional' readings lighter on their feet). Muti's robust medium and manner, however, bring rewards in the other movements: the introduction setting the scene emphatically in modo grandioso with the first subject striding manfully forth therefrom; and Muti's various unmarked broadenings (extreme in the first movement's final bars, magnificent at the Trio's climax) preparing us well for the most effective unmarked largamente of all: those monoliths in the symphony's coda, placed with the sort of elemental power that seems a thing of the past.
Neither can you fail to be impressed by the full-toned splendour in the Unfinished, or the chilling ppp Muti elicits in its opening bars. But there really isn't much beyond technical and formal control in this Unfinished; most rivals (whether ancient, modern or hybrid; say, Norrington, Kleiber and Harnoncourt) make something more out of the second movement's 'magic circle' transition to the second theme, and its extension in the coda. Impressions remain, too, in selected movements and moments from the earlier symphonies, of the VPO being pushed beyond their means (Fourth Symphony's finale), capable of military exactitude only (Sixth Symphony's finale), or a generalized muscular brio (most of the Third Symphony).
The most consistently fruitful alliance comes in the works recorded most recently: the Second Symphony and the Rosamunde music; just issued on a single full-price disc, and worth anyone's money. For the remainder, there isn't as much evidence of the kind of preparation, interpretative insight or collaborative chemistry that distinguishes the full-price Abbado or Harnoncourt cycles. But the Muti set is very generously laid out (the Ninth Symphony is split over two CDs) and modestly priced, and those distressed by modern trends could do worse.'