I have a theory on that tev...
Back in the early 20th century, when conducting style was at its most diverse and expressive, most of the focus was on live performance. A conductor could take a chance and try something different. If it didn't work, oh well, he could fix it in the next performance. This added a LOT of spontaneity to the proceedings, and the musicians had to be on their toes for the conductor's improvisations.
When recording became the primary focus, instead of live performances, it turned around completely. Stokowski was criticized for his occasional digressions from the score and Toscanini got it for being metrical or too driven. The connection with the orchestra that made for fireworks in the concert hall created aberrations in the recording studio.
Today, we are so concerned with producing "definitive" recordings, conductors are afraid to step out and try new things. This has led to a homogenization of stylistic approaches and a stifling atmosphere of "appropriateness".
Picasso once said that "Good taste is the enemy of all art."
See ya
Steve
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