I fear I cannot raise much enthusiasm for this issue, especially when the field contains so many good versions, several of them really splendid. The conductor is not helped, in the first place, by a recording that is slightly on the dull side. The loudest bits are bright enough but not really very well focused nor clear by modern standards of recording. It only really livens up for the finale—or is it Ivan Fischer who only livens up at that stage? Certainly the most tedious movement is the slow one, where he takes an unhurried four quavers to the bar, which is too slow for an andante con moto and makes a long, though extremely beautiful, movement seem interminable. Nor am I happy about Fischer's 'gear changes'. Nobody wants a movement to be metronomic but the changes from subject to subject must be convincing and I think I am not convinced because I don't like the new tempo when he gets to it. With the exception of the finale it is usually not brisk enough.
I greatly prefoer Solti and Boult, both of whom give performances that are utterly satisfying and admirably recorded; and as Sir Adrian's is now on HMV's budget Concert Classics label, while Decca keep Sir Georg at full price so far, my recommendation is clear.'