I second both nominations.
In general, if you are shooting in the dark you can't go too far wrong with Solti/Chicago provided that you like the distinctive sound that he produced there--forward brasses, lots of emphasis on low sonorities, brisk tempos, and a steadfast resistance to schmaltz. Once in a while he fired for effect (exaggerated dynamics, mostly) but generally the CSO played quite competently under his baton and his musical taste was impeccable, if tending to the dramatic. He was quite a tyrant for precision playing; you won't hear wrong notes in the third horns or the annoying "shimmer" of imprecise bowing. Highly recommended, especially if you're into German Romanticism.
Oops, didn't mean to turn this into a tribute to the man.
Will