If the main thing that matters in the New World Symphony is its most famous passage, then Tennstedt in this recording with the BPO wins hands down against all opposition, whether on CD or LP. The natural, easy warmth of the cor anglais solo in the slow movement at a more measured speed than in usual these days has a pure felicity which it would be hard to match. There is plainly room for a reading which, like Tennstedt's, takes a spacious, romantic view in what might be called the German rather than the Czech tradition. In many ways he follows the pattern set by Bruno Walter, whose reading similarly conveyed the purest happiness. Another lyrical passage which will win many hearts is the great clarinet solo of the second subject in the finale, and there too Tennstedt takes a far warmer view that his rivals here yet with no hint of self-conscious mannerism. Yet it would be wrong to think of Tennstedt's view as just sweet and warm, for his dynamism brings dramatic build-ups in the development sections of the outer movements which are more thrilling and spontaneous-sounding than those of his rivals.
Those are some of the very powerful points in favour of the Tennstedt version, yet I fear there is quite a catalogue of snags, starting with the recording quality. Whether or not the EMI engineers had to use the notoriously difficult Philharmonie, home of the BPO, the sound lacks the sort of bloom, particularly on the strings, one knows this magnificent orchestra consistently produces. Next to the superb sound which the Decca engineers give to Kondrashin, one of their first digital experiments and in sound still the finest New World, the new one sounds constricted with tuttis often unclear on detail. I was sad that the subtle but very important and atmospheric roll on the cymbal just as that lovely clarinet theme emerges in the finale is totally inaudible, an amazing omission. It is odd too that the clarinet, commenting on the cor anglais solo, gives several strange clicks. The dynamic range is very wide, but the aggressiveness of the fortissimos the very sharpness of the contrasts may well be too much for some. Then I am sorry that in this symphony, in which the first movement is short in relation to the rest, Tennstedt omits the exposition repeat, which all his rivals observe. One misses it the more when the Largo is far slower—as well as more expressive—than with Kondrashin or Maazel (DG), if not Solti (Decca). But those who have been yearning for a really romantic version of this very romantic symphony, will probably pass over these reservations as unimportant, and I would not blame them. This is a performance to love.
The only other LP comparison I would include in addition to those for CD is the bright, fresh and direct reading of Macal and the LPO on CfP (CFP4381, 11/82), but there the differences could hardly be sharper. No rivalry is involved, just an excellent and exciting LP alternative.'