Due to the historic and sentimental impact of this recording, done at a live concert, I think it would be pretty mean-spirited to give it anything less than a full recommendation, although under other circumstances one might reconsider. Unlike other reviews, I found the Beethoven more successful than the Britten. The Sea Pictures from Peter Grimes were atmospheric but due to the slow tempi the horn parts tended to blare somewhat in the storm section. I find this music needs a quicker pulse to be completely effective, and would have to say this is not the equal of Previn's recording in London, or that of the composer, both of which were admittedly done under studio conditions.The central Pictures were very effective. It was nonetheless an individual interpretation, well worth hearing. The Beethoven 7th, as also noted elsewhere, is among the slowest recordings available, due to the basic tempo and the observance of all repeats. The Allegretto sounded more like an Adagio, which some purists would find objectionable, but its tempo fit in with the rest of the score. The Scherzo was slow too but Bernstein conducted the sforzandi very literally, which hit me with a jolt more than once - as surely Beethoven intended. Quite frankly I was surprised to read Bernstein was feeling so poorly he leaned against the podium for support during this movement, the playing doesn't give that impression. The finale has just enough of an increase in tempo to give it extra lift and sparkle, without losing symphonic strength. The orchestra plays with excellent rhythmic pointing and the horns blaze in the coda without sounding frenetic, as many other performances do. The immediate and boisterous ovation was gratifying and heart-warming. The digital recording is excellent, as is the detailed documentation. Overall, this recording is a valuable document, and its inevitable flaws make it none the worse for that. Strongly recommended.