The only premiere of a Vaughan Williams symphony that I ever attended myself was in January 1953 in Manchester, when Sir John Barbirolli conducted the first performance of the Sinfonia Antartica. It was hard on that occasion not to feel disappointment after the range and depth of the Sixth Symphony with its visionary slow finale. Yet, when in September 1967 the emergent André Previn recorded the Sinfonia Antartica as the first of his complete cycle for RCA, he demonstrated that this is far more than a collection of atmospheric genre pieces, not just a spin-off from a film score but an intense, even a tough, work. It may be relatively slack in architectural terms, not at all a symphonic structure, but Previn—paradoxically for one associated with films—concentrates on purely musical argument. For once the sequential first movement, very slow and concentrated, seems an aptly monumental opening with playing from the LSO of superb quality, and though the 'penguin music' of the Trio in the Scherzo has less fun than it can have, the whole work easily sustains its length. Sir Ralph Richardson may not be ideal speaking the superscriptions, but this time I have found the furriness of the voice characterful and appealing.

-- Gramophone [12/1981, reviewing Symphony no 7]

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we are not exactly spoilt for choice when it comes to the Eighth Symphony. My preference here is for Previn, who gives a more thoughtful, sensitive and rounded performance of this, the most genial of the nine symphonies. The Cavatina is beautifully played, and Vaughan Williams's xylophones and glockenspiels are heard to great effect. Boult's account contains some beautiful playing as well, though the performance is much more 'up-front' and less introspective than Previn's. Both are valid, and ultimately choice will be a matter of personal taste.

-- Gramophone [3/1991, reviewing Symphony no 8]