Shame about this. The interpretations, especially Berglund's early one of the 6th (recorded some years before his memorable Bournemouth SO cycle) has an urgency and freshness his later COE and Helsinki readings don't quite match. But the recording is set very close and loud, with no pianissimos and a very narrow dynamic range. This also true of the Kegel 4th (musically decent if not outstanding), and there is audible evidence of some processing going on in the mastering or remastering stages, an artificiality about the acoustic reverb and so on. I don't know whether earlier issues of these readings sounded any different, but I would avoid this. As so often with Berglund's Sibelius, Bournemouth is best! And there are plenty of great 4ths around ( Sanderling, Rozhdestvensky, Davis, Maazel, all very different and distinctive) to render the Kegel one irrelevant.