Weingartner's Beethoven Seventh was recorded the same year as Toscanini's Philharmonic account. No greater contrast can be imagined than between these two recordings. Weingartner succeeds where Toscanini fails, in giving the Symphony a buoyancy and grace that is completely destroyed by the Italian's characteristic metronomic haste. One very "individualistic" touch occurs in the First Movement Coda: Weingartner broadens the tempo at the very beginning of the Coda, applies quite massive rubati to the bass figurations, and holds to this slower tempo to the very end of the movement. By contrast, the Finale is a gradual and steady accellerando until the Coda is played with overwhelming Dionysian fury. The Eighth Symphony and "Egmont" Overture are likewise treated to supple and sensible tempo fluctuations which truly animate this "Vortrag." As in the Ninth Symphony, Weingartner shows himself to be a master of the Beethoven style, giving the music room to breathe, as well as maintain the structure of the work. The transfers are really superb. I love all the Naxos Weingarter reissues, but I must admit that the Vienna Philharmonic Beethoven series is especially precious to me. MORE WEINGARTNER, PLEASE!!!!