Sensible, interesting performances with an orchestra that is smaller than usual today for such music. There is a gain in clarity but no loss of impact. The symphony's second movement seems more dirge-like than is implied by either Beethoven's metronome mark or his tempo, Allegretto; the music sounds more like an Andante. Between the wars it always sounded like this, but when Toscanini came to the Queen's Hall and blew the cobwebs off it, our conductors, notably Boult, speeded up. But having chosen his rather too slow tempo, Hickox sticks to it, without hurrying (as so often used to happen) for either the contrasting music in the major or for the fugal episode, and his steadiness pays dividends. The first bar or two of the Scherzo sound odd (too much brass?), but this movement is very well played, and there is no drift into sentimentality in the contrasting sections. Almost before the last chord has died away, Hickox is attacking the finale with great vigour. Occasionally semiquavers on the strings sound a bit of a scramble but this is a most invigorating and enjoyable performance.
Coriolan is impressive at a very steady tempo, and when Beethoven entrusts the bass notes to the double-basses on their own, they are clearer than usual. The recorded quality is excellent.'