All just my personal opinion
Beethoven: Symphony No.4 in B♭ major, op.60 — comparing recordings with the following artists: Bernstein/New York Philharmonic (1962), Bernstein/Vienna Philharmonic (1978), Böhm (1972), Dausgaard (2000), Furtwängler/Vienna Philharmonic (1953), Hogwood (1986), Klemperer (1957), Norrington/RSO Stuttgart (2002), Toscanini (1951), Walter/New York Philharmonic (1952), Walter/Columbia Symphony Orchestra (1961), Zinman (1998)
Bedřich Smetana: Má Vlast — Harnoncourt, Vienna Philharmonics;
Dvořák: Symphonic Poems opp.107, 108, 109, & 110 — Harnoncourt, Royal Concertgebouw Orchestra
Mozart: Rondo in A for Piano & Orchestra, K.386 — Clara Haskil, Bernhard Paumgartner, Wiener Symphoniker / Vladimir Ashkenazy, István Kertesz, London Symphony Orchestra / Kristian Bezuidenhout, Petra Müllejans, Freiburger Barockorchester
(…) concert performance reminded me of observations I made earlier on when watching Yulianna play the piano — particularly, I think, with music of the romantic period. It has to do with what Yulianna does with her arm & her body while playing — but to explain this properly, let me first go back to one of my early “piano heroes”, the late Friedrich Gulda…
Lieder recordings (Beethoven & Schumann) with Fischer-Dieskau/Moore, Wunderlich/Giesen, Goerne/Schneider, Terfel/Martineau, Bostridge/Drake; Schumann: Piano Quintet op.44, Piano Quartet op.47 — Melnikov/Jerusalem Quartet, Levine/LaSalle Quartet; Webern: 6 Bagatellen, 5 Movements for string quartet, op.5 — Hagen Quartett