Leonard Bernstein, New York Philharmonic. First recording in 1965, Sony; and the second in 1986, DGG; and an underground recording of a broadcast in 1986 at the time of the DGG recording. The last is the best, in my opinion, but not readily available. Between the two commercial recordings I would choose the earlier one, on Sony, as it is less restrained. Here, Bernstein is at his best, less interventionist than in any other of his Mahler recordings, but full of life. In all three recordings, however, he cannot resist messing up the penultimate chord — always Bernstein, ruining Mahler's good idea with his better one.
Jascha Horenstein, concert performance with the New Philharmonia, 1969, with some brass clams and other warts, but a deeply thoughtful and wonderful performance. Possible still available on Descant label, but only from Berkshire Record Outlet (www.broinc.com), and recently on BBC Legends (a much less satisfactory transfer). This belongs in the library of every serious Mahler enthusiast.
Vaclav Neuman conducting the Leipzig Gewandhaus Orchestra, Berlin Classics, 1968. Aside from a weak timpani bang in the second movement, this is a fine reading, with a very exuberant final movement.
Georg Solti conducting the Chicago Symphony, London. This is one of Solti’s most satisfying Mahler readings, tempo changes not extreme, well recorded and played. In fact, it is one of the few recordings where the 1/32nd notes in the lower strings can be heard in the first movement. Brass is strong, as expected, but not brash. Last movement opens briskly but well controlled, and the tumultuous coda is excellent.
Otto Klemperer conducting the Philharmonia, EMI, 1969. This is the slowest 7th on record, but it does not drag. Klemperer had a talent for moving very slowly but making it majestic and noble, and you get a chance to hear much music that flies by in faster performances
Hermann Scherchen, Toronto Symphony, concert performance. Avoid this one, even at a bargain price, as it is very uneven — speed’em up, slow’er down! Sound is uneven. Scherchen’s recording with the Vienna State Opera Orchestra (Westminster), if you can find it, is much preferred.
Michael Tilson-Thomas conducting the London Symphony Orchestra, 1999. I cannot recommend this performance, though sound is quite good, as MTT divides the music up into episodes and loses the grand architecture.
Two recent recordings are recommended for sane, but invigorating performances in excellent sound:
Claudio Abbado conducting the Berlin Philharmonic, DGG, 2002. This must be similar to the Salzburg performance that Donald Mitchell admired. Well played and recorded, and has no faults.
Michael Gielen conducting the SWF-Sinfonieorchester Baden-Baden, 1993. Much inner detail is heard and, in fact, this is one of the few recording I have heard where the 1/32 notes in the upper strings near the opening are heard clearly. Most conductors finesse these difficult passes by having the orchestra play tremolo instead. A sane but intense performance -- not a contradiction in this case!.
Two other performances, both slow but even so with momentum and style, are Leif Stegerstam and the Danish National Radio Symphony Orchestra (Chandos) and Lorin Mazaal and the Vienna Philharmonic (CBS-SONY)).
As a footnote, if you want to hear the Prelude to Die Meistersinger played to perfection, find a transfer of the performance by Willem Mengelberg and the Concertgebouw Orchestra of Amsterdam — a truly thrilling and powerful performance, in good sound for one made circa 1942! Failing to find that one, try Otto Klemperer with the Philharmonia on EMI.
Apologies to those whose favorite performances I have overlooked.