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)
Mozart: Symphony in G minor, K.550 — comparing recordings with the following artists: Christopher Hogwood, The Academy of Ancient Music (1983) / Jaap ter Linden, Mozart Akademie Amsterdam (2002)
(…) The last position in the program (after the intermission) was Mozart’s Symphony No.40 in G minor, K.550, in its first version (without clarinets), preceded by some explanations (in English) by the conductor. Sir Roger Norrington first alluded to numeric relations between the two symphonies (No.4 vs. No.40 — second vs. second-to-last symphony), then referred to the fact that K.550 is overused, known too well even, and played in warehouses and escalators…
Mozart: Symphony in D, K.19 — comparing recordings with the following artists: Christopher Hogwood, The Academy of Ancient Music (1982) / Jaap ter Linden, Mozart Akademie Amsterdam (2001)
Haydn: Cello concertos No.1 C & No.2 D — Maisky (1986), Mørk/Brown (1992), Rostropovich/Brown (1975), Isserlis/Norrington (1996); Haydn: Sinfonia concertante in B♭ major, Hob.I/105 — Antal Doráti (1972), Dennis Russell Davies (2009), Sir Roger Norrington (1996)