Concertgebouw standards at the time of Haitink's survey (1970-80) left little to be desired. Perhaps the clarinets don't always overcome reservations about their tone and intonation with the sensitivity of their phrasing; but the horns invariably do, and more often than not Brahms's favourite instrument is a source of joy in these recordings, blazing gloriously at appropriate moments (especially in the Fourth Symphony), or opening up and sustaining huge vistas in the 'dawn' of the First's finale. As to the strings, Haitink's insistence on firmly defined (though never over-emphatic) rhythms from the bass lines up is altogether exceptional; there are countless examples, but most memorable of all is the cellos' and basses' ostinato that sees the Second Symphony's finale in the home straight. What an articulate, integrated Brahms sound this is, too; a case of conductor and engineers easily achieving their aims working in a familiar acoustic. The only movement you may initially find overly sober is the first of the Third Symphony, taken very broadly, though it's determined and imposing, and the launching of the coda is stupendously powerful. There's no better way of getting to know Brahms's orchestral works on a budget.