I can't find it now, but I'm almost certain that it was someone's comment here, probably Rob G's, that made me aware of Kleiber's recording of these two symphonies. I don't think it was all that long ago--five years? surely not ten?--but it was probably before I had most currently available recorded music at my fingertips via streaming, because I bought the CD. But it was only a week ago that I finally got around to listening to it.

This event was set in motion several weeks ago when I heard Beethoven's Sixth performed by the Mobile Symphony. I had really been looking forward to it, and I did enjoy it, but found it a bit of a letdown. Perhaps that had to do with the performance, and the unfair comparison between the perfection of recordings by the world's greatest performers, and the good but not world-class work of a lesser orchestra. On the other hand, any half-decent live performance has something that no recording can provide. So I don't think it was the orchestra's fault. I felt more that it was the work itself, that I just didn't like it as much as I had thought. Perhaps it was just my mood. Or perhaps it's age: I was effusive about the Sixth fifteen years ago.

Discussing this with my friend who's a classical music expert led to her recommending this recording. "Well, actually, I have it, but have never heard it." She assured me that it would knock my socks off, or words to that effect. I attempted to dampen that expectation, reminding her that I'm not all that sensitive to performance. 

But she was right. I suppose I've heard the Fifth a dozen or so times over fifty years, and of course I like it, but it had never electrified me before. If my socks had physically behaved as the metaphor says, they would have landed on the bookshelf across the room. And the Seventh was if anything even better. 

I'm obliged, in honesty and in acknowledgement of my lack of sensitivity to nuance in performance, to say that I think the recording itself, I mean the sonic quality of the production, played a part in my reaction. It is stunningly sharp and clear and its dynamic range is so great that I thought it must be a digital recording. But it was made in the '70s, when digital recording was still in its infancy. The conversion to digital for the CD used "Original-Image Bit-Processing," whatever that means, so maybe that's part of the reason.

And obviously the clarity is primarily the work of the Vienna Philharmonic itself, which seems almost superhumanly precise. 

I guess it would be superfluous to say that I recommend this recording. Looks like it's on YouTube but I doubt that the sound quality would be as good as the CD.

I didn't know anything about Kleiber beyond his name. I vaguely wondered why, if this recording is considered so great, I had not heard his name more. I found part of the answer in the Wikipedia article; he seems to have been an unusual character, with an unusual career. A conductor who "kept out of the public eye"? That's odd. He didn't make all that many recordings. 

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By the way, the Mobile Symphony concert included a flute concerto by Lowell Lieberman. I had no more than the vaguest recollection that I might have heard the composer's name before, and figured that this was what someone has referred to as the OOMP of this concert: Obligatory Opening Modern Piece: spiky, slight, not particularly engaging, and, one hopes, not too long. And I didn't expect it to be especially good. But it is. I wanted to hear it again.

Also, it was not the opening piece. That was Beethoven's Creatures of Prometheus overture. As far as I recall I had never heard it before. I don't really care whether I ever hear it again, either. I've mentioned before that I feel some sort of basic temperamental incompatibility with Beethoven. That doesn't matter with his great works, like the two symphonies here, but I don't think this is one of them.