看看Richard Osborne是如何在英國《留聲機》雜誌評價這些錄音：
第九號「合唱」交響曲（此次未發行）
This newly released RCA recording of the Ninth was made several years ago, in July 1989 and June 1990. Previn's reading is a traditional one, and none the worse for that. The Scherzo takes fire and so does much of the finale. Elsewhere, though, there is often a feeling of blandness about the orchestral playing. This may be due in part to the recording which renders the orchestral sound as a slightly distant mass. The first movement, certainly, needs to be much more cleanly etched than it is here. But, then, this in turn raises the question of the degree to which the players are engaging with the music as opposed merely to playing it through.（Gramophone 4/1995 ）
第五號交響曲（原附Leonore序曲，日本版有異）
Previn's new Fifth with the RPO sits a little heavily on the stomach like decent beef rather too thickly cut and too liberally supplied with unsurprising things like gravy and potatoes. This particularly applies to the RPO's playing of the slow movement and the trio of the scherzo. But Previn's rather too moderate view of the first movement must take some of the blame for the lack of excitement and wonder it all brings on. By the time we have been invited to look through the charmed casement opened by the oboe's rapt cadenza, the tension is relatively low. There is little sense of brief visionary release. At the onset of the recapitulation there is no onrush of feeling or sudden spontaneous outflow of emotion such as Weingartner used to engender. I miss any sense of scalp-tightening excitement as the new motif spontaneously breaks in at bar 423; and there is little sense of pathos in the oboe's falling descants in the coda. The symphony's finale is very grand here, but ultimately rather marmoreal.
The recording is clean and lively but in both the symphony and the overtures the RPO playing seems to be geared to that quality of Englishman characterized by Sir Thomas Beecham as not much liking music, but absolutely loving the noise it makes. In Beecham's day the RPO was a subtler, fierier, more quick-witted band than here.'（Gramophone 1/1990）
第四號＆第八號交響曲（日本版分兩張，分別是4/5 與 7/8）
There have been some tolerable things in Previn's Beethoven cycle but his evident care for the music is not enough to imprint the performances on mind and imagination at this juncture in the history of these too much recorded works. Compared with EMI's recently reissued CDs of Beecham's account of the Eighth Symphony made with the five year-old RPO in 1951 orKlemperer's 1957 Philharmonia Fourth (reviewed below) the interpretations lack individuality and the playing lacks point. Of the two symphonies, the Fourth responds better to Previn's relaxed, warm-toned approach; the Eighth, by contrast, is very laboured in feel: broadly paced and slow on the uptake.'（Gramophone 8/1990）
第九號「合唱」交響曲（此次未發行）
This newly released RCA recording of the Ninth was made several years ago, in July 1989 and June 1990. Previn's reading is a traditional one, and none the worse for that. The Scherzo takes fire and so does much of the finale. Elsewhere, though, there is often a feeling of blandness about the orchestral playing. This may be due in part to the recording which renders the orchestral sound as a slightly distant mass. The first movement, certainly, needs to be much more cleanly etched than it is here. But, then, this in turn raises the question of the degree to which the players are engaging with the music as opposed merely to playing it through.（Gramophone 4/1995 ）
第五號交響曲（原附Leonore序曲，日本版有異）
Previn's new Fifth with the RPO sits a little heavily on the stomach like decent beef rather too thickly cut and too liberally supplied with unsurprising things like gravy and potatoes. This particularly applies to the RPO's playing of the slow movement and the trio of the scherzo. But Previn's rather too moderate view of the first movement must take some of the blame for the lack of excitement and wonder it all brings on. By the time we have been invited to look through the charmed casement opened by the oboe's rapt cadenza, the tension is relatively low. There is little sense of brief visionary release. At the onset of the recapitulation there is no onrush of feeling or sudden spontaneous outflow of emotion such as Weingartner used to engender. I miss any sense of scalp-tightening excitement as the new motif spontaneously breaks in at bar 423; and there is little sense of pathos in the oboe's falling descants in the coda. The symphony's finale is very grand here, but ultimately rather marmoreal.
The recording is clean and lively but in both the symphony and the overtures the RPO playing seems to be geared to that quality of Englishman characterized by Sir Thomas Beecham as not much liking music, but absolutely loving the noise it makes. In Beecham's day the RPO was a subtler, fierier, more quick-witted band than here.'（Gramophone 1/1990）
第四號＆第八號交響曲（日本版分兩張，分別是4/5 與 7/8）
There have been some tolerable things in Previn's Beethoven cycle but his evident care for the music is not enough to imprint the performances on mind and imagination at this juncture in the history of these too much recorded works. Compared with EMI's recently reissued CDs of Beecham's account of the Eighth Symphony made with the five year-old RPO in 1951 orKlemperer's 1957 Philharmonia Fourth (reviewed below) the interpretations lack individuality and the playing lacks point. Of the two symphonies, the Fourth responds better to Previn's relaxed, warm-toned approach; the Eighth, by contrast, is very laboured in feel: broadly paced and slow on the uptake.'（Gramophone 8/1990）
幾年前玫瑰唱片大特價時，以很低的價格（應該略等於NT$100上下）購進一片第七號加第八號（RCA Basic 100版），原本想說可以參考看看。看完這樣只有一個「慘」字加以形容的樂評，老實說，一點購買意願都沒了...
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