Recorded between 1975 and 1979 in excellent analogue sound, Muti's Tchaikovsky cycle with the Philharmonia is one of the most consistent ever, with the conductor's high voltage tempered by expressive warmth and keen fantasy. The individual symphonies appeared earlier on CD at full price and with no couplings, but then the very format made them seem poor value in a highly competitive field. Now on four mid-price discs and with the bonus of the Romeo and Juliet Overture on the fourth disc that reservation is completely eliminated. In excellent transfers and with the benefit over the two rival versions I have listed that there is only one symphony split between discs, No. 4, they have claims to being the best buy yet. Nos. 1 and 2 come complete on the first disc, No. 3 and the first three movements of No. 4 on the second disc. The finale of No. 4 and the whole of No. 5 come on the third disc, while the last disc has, as well as the Pathetique, the Romeo and Juliet Overture, in a performance and recording made at the same period and totally consistent.
The Markevitch/Philips set has an advantage in price over both Muti and Karajan (DG), coming on the cheapest Philips label. The recordings date from the early 1960s, but you would hardly know that from the firm body given to the sound, and its clarity of focus. The Karajan series is in two distinct halves. Both in the sound and in the freshness and imagination of the performances, Nos. 1 to 3—which Karajan had never previously recorded—outshine Nos. 4 to 6, which he had recorded repeatedly before. Muti, as I said, is more consistent over the whole series, both in the sound and in the interpretations. Though No. 1 was recorded two years before any of the others—hence the attribution to the New Philharmonia, before the orchestra reverted to its original name—both the sound and the quality of the playing readily match the rest.
Though the first movement of the Fifth brings an exception, Muti tends to favour fast Allegros in the outer movements, generally not so different from Markevitch's. His manner is direct too, but he allows a degree more expressive freedom than Markevitch, and that gives him a clear advantage in most of the middle movements, where his springing of rhythm relates more to the balletic Tchaikovsky, making them feel lighter and more fanciful. As IM said in his review of the Markevitch box last March, the Philips set brings outstanding performances, every bit as well played by the LSO as these from the Philharmonia, but for the extra spaciousness and range of the sound, as well as for the better and more generous format, this Muti box earns the warmest recommendation.'