Writing about Bohm's LP performance of No. 39, RG criticized the finale for its lack of geniality. When I heard it on this excellently recorded CD I found it difficult to agree, for it seemed to me marvellously played. But when I put on Sir Colin Davis's Philips CD performance with the Dresden orchestra I saw that I had been less perceptive than my colleague, for Davis has a lighter touch, the woodwind entries, in particular, are played more pointedly and make the whole movement more alert and alive. I think that much of my impression came from the fact that Bohm's record is older and has been through the process of being digitally remastered and that may account for less immediacy than we hear from Davis, whose recording was digital in the first place. For Bohm is an excellent Mozartian and his performances of both symphonies have, as Rg said, great spaciousness in the slow introductions and fine first movements. But I am convinced that both Davis and his recording are to be preferred in No. 39. (It is coupled with the Jupiter.)
My copy raises a point aired by a reader, Mr Daniel O'Hara, in a letter in the March issue (page 1044) headed ''Clipped CDs'', where he complains of works on CD starting fractionally late. I had occasion with this Mozart disc to play the finale of the E flat Symphony often and I never quite caught the first notes; but when playing the whole it reproduced perfectly and nothing was missing. Mr O'Hara did not sy if his experience was also confined to playing a single band. It suggests to me that the precise placing of the band is what is wrong.'