I agree with your findings, Your Honour. I have just completed a run-through of various recordings of the second movement.
The biggest surprise for me is the Barenboim Berlin Statskappelle, the most disappointing the EMI Klemperer which is just s flaccid run-through. The same can be said of the Abbado Vienna, the Chailly Leipzig, the LSO Haitink and the Karajan. The conductor who surprised me most was Harnoncourt: it's an 'interpretation', a statement, as in Sanderling and Barenboim. This movement is so-under-rated, of course, hence the many 'run-throughs. The Kletzki is also stunning. The Leipzig Blomstedt is just a wee bit too 'modern' for me...
Later I will listen to Herr Furtwangler and Maag, Wand, the Michael Sanderling and a re-listen to the Cluytens.
I just got around to making that comparison, Dieter, Here's the Sanderling:
Right from the Allegro con brio of the first movement, it's electric, even in mono sound.
Here's that second movement Larghetto from YNZ:
Those thin, droning lower strings and whining violins are so soulless - and the inevitable brisk phrasing means he can despatch the whole thing fully three minutes faster than Sanderling, just in case any emotional indulgence should spoil its brisk efficiency. So it skims along, leaving barely a ripple on the surface.
All very well, my friend. However, just listen to the 2nd movement of Symphony 2 as conducted by Kurt Sanderling, also on DG, Leningrad Phil, 1956. Then play Nequet's prosaic run-through and ask yourself, who is making music? I have no further questions, your honour.
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