Good, vigorous, intelligent Beethoven interpretation, and a workable compromise between mostly modern-instrument sonorities (Philippe Herreweghe opts for natural trumpets and Baroque timpani) and a historically informed approach to “vibrato control, articulation and even rhythmicity” (Herreweghe's own words). You'll also note a radically embellished oboe solo at 4'11" into the Fifth Symphony's first movement.

The Eighth comes off best, especially the first movement's development section (excellent brass and timps), though the strings tend to under-project. Herreweghe shapes the Menuetto's Trio most beautifully but although the finale starts with a real fizz, the second idea (on lower strings) hardly registers. The principal appeal here is in the textural conflict between featherlight, shimmering strings and timpani-dominated full tutti, all despatched at the prescribed fast tempo.

The Fifth, a very lively performance if at times a trifle businesslike, is generally well balanced except for certain string lines, particularly in the running passage at 3'57" into the second movement then at 0'35" and again at 2'43" (repeat) where lower strings fail to tell as they should. The finale itself is exciting without generating much in the way of exultation, something that so many rival recordings, from Furtwängler and Toscanini to Skrowaczewski manage to do. Pentatone provides Herreweghe and his orchestra with excellent sound quality, very realistic and with spatially divided violin desks, but given a choice in the “modern-authentic” stakes I would go for David Zinman and the Zürich Tonhalle (Arte Nova, 7/99). For the purely period-instrument lobby, Roger Norrington's London Classical Players (Virgin, 11/89R) still sound pretty impressive.