Given the live provenance, there are surprisingly few mishaps, particularly from the brass. They blast their way through the first movement's coda with aplomb, the horns manage their hideously exposed solos at the end of the third movement without a stumble, and the quiet "brass chorale from hell" just before the finale's grand climax comes off flawlessly. A big bravo for all concerned, especially for 1967! As so often happens, Kubelik live is a bit freer than Kubelik in the studio, and he allows himself a touch more emphasis here and there (for example, check out the striking vehemence he brings to the close of the third movement).

Marjorie Thomas sounds lovely in her fourth-movement solo, the choirs acquit themselves with honor, and the sound, a touch distant, remains clear and well balanced--certainly better than what DG gave Abbado more than 30 years later. During his lifetime Kubelik earned a reputation for being somewhat inconsistent, particularly regarding orchestral discipline, but the large series of live recordings coming from labels such as Audite and Orfeo doesn't bear this out at all. Unlike some conductors whose live efforts as often as not turn out to be more embarrassing than revealing (Barbirolli and Horenstein come to mind), Kubelik live has satisfied the highest expectations. This release is no exception.