Mazel and Cleveland.
At any rate, you want a couductor who knows what Brahms, not his publisher, wanted. He wanted the double bass to follow the cellos 90% of the time, but publishers took it upon themselves to transpose the bass below low "E". Mazel doesn't, and the beginning of the first symphony, for example, knocks your socks off!
For my ear, Von Karajan is mushy and distant with the highs cut out on recordings. You might say that was DG's productions. The Szell/Cleveland are lacking bottom, again thanks to the recording poduction at the Masonic Aud. London CERTAINLY fixed that with Mazel and the same orchestra in the same aud!