That's the danger, of course, in handling Brahms (i.e. brooding etc.)Those conductors aren't getting it right, in my humble opinion.
Check out the Carlos Kleiber 2 and 4 on DVD and you'll see the difference.
One of the keys is "rhythmic percolation" and Kleiber is a master at that.
Without that element, and with tempi perhaps too slow, Brahms is just cranky and constipated on his chamber pot.
The accents have to be treated "oppositely" to give it this vital element of rhythmic propulsion given the intertwining lines.
And the supposedly angst-ridden stuff (diminshed chords etc.), when mistreated, belie Brahms joyful embrace of even the supposedly unhappy elements of life. His blood is flowing with every bit of "red" energy. He faces it full-frontal.
This is a different approach to life than the "Uranian" composers, and one I find refreshing.
He's vital, green, glowing and alive. The challenge is in the interpretation.
He's got a Venus-Neptune trine, which is one of those nature-loving aspects...