Like Maazel's other Telarc recordings made in Cleveland, this brings a brilliant performance and brilliant recorded sound, one which interpretatively fits nicely between the spacious and rather severe Haitink (Decca) and the warmly expressive Bernstein (CBS). In fact, this is among the warmest performances I have heard from Maazel on record, less Romantic in its expressiveness than Bernstein's reading but consistently sweeter and more moulded than Haitink's. Where for example in the long-legged violin melody of the second subject Haitink, at a very slow speed, gives a very plain reading, noting the absence of phrase marks, Maazel moulds it more easily at a flowing speed. Though Maazel is faster in all sections of the exposition he then allows himself less of a stringendo in the long ostinato of the development section, building powerfully but with a tighter control. The other three movements too are markedly faster with Maazel, though never hysterically so. The scherzo has less of Landler gallumphing than Haitink gives it, while the Largo, is sweeter and less rarefied. With astonishingly clean articulation at a very fast speed the first Allegro of the finale is breathtaking but less brutal with Haitink.
Enough to say that all three readings in their contrasted ways present very satisfying results, and taking a middle course, Maazel for many will provide the best answer. The sound is excellent (originally recorded in 1981), very nearly as full and atmospheric as the Decca sound for Haitink with superb heavy brass and plenty of inner detail. I have never, for example, heard the upward glissando violins and violas at fig. 46 in the first movement coda so clearly presented.'