Penguin Guide Rosette Winners

‘This is conducting akin to genius, with insights and instincts that can’t be measured by any old yardstick. Rattle’s sense of drama, of apocalyptic events, is so strong that at the final chords one is awed. The CBSO emerges as an orchestra of world class and the CBSO Chorus is magnificent. The recording is superb.’ (The Gramophone)

“Where Simon Rattle's interpretation is concerned, we must go into the realm of a giant Mahlerian like Klemperer.
For we're dealing here with conducting akin to genius, with insights and instincts that can't be measured with any old yardstick. Rattle's sense of drama, of apocalyptic events, is so strong that at the final chords one is awed. None of this could have been achieved without the CBSO, which here emerges as an orchestra of world class. Such supple and rich string playing, such expressive woodwind and infallibly accurate and mellow-toned brass, could be mistaken as belonging to Vienna, Berlin or Chicago. Attention to dynamics is meticulous, and contributes immeasurably to the splendour of the performance.
A double pianissimo is really that, so when triple forte comes along its impact is tremendous.
Some outstanding features can be pinpointed: the haunting beauty of the portamento horn playing and the strings' sensitive and perfectly graded glissandos at fig 23; the magical entry of flute and harps just after fig 3 in the second movement; and the frightening eruption of the two fortissimo drum notes just after fig 51 in the same movement. Dame Janet Baker is at her most tender in 'Urlicht', with Arleen Auger as the soul of purity in the finale. The CBSO Chorus is magnificent. Indeed the whole finale is an acoustic triumph. This in a spiritual class of its own and the recording is superb.” Gramophone Classical Music Guide, 2010

“Rattle's reading of Mahler Second Symphony is among his very finest records, superlative in its breadth and the vividness of its sound. The inspired orchestral playing and beautifully balanced choral singing are matched by the heartfelt response of the soloists” Penguin Guide, 2010 ****

“The performance are radiant and deeply understanding from both singer and pianist, well caught in atmospheric recording. A heart-warming record.” Penguin Guide, 2010 ****

“The songs of the Lieder eines fahrenden Gesellen ('Songs of a Wayfarer') are quoted from Mahler's First Symphony and the fresh, springtime atmosphere is shared by both works. The orchestration has great textural clarity and lightness of touch. The Kindertotenlieder, more chromatically expressive than the earlier work, tap into a darker, more complex vein in Mahler's spiritual and emotional make-up. The Rückert-Lieder aren't a song cycle as such but gather in their romantic awareness and response to the beauties of the poetry a unity and shape that binds them. Baker and Barbirolli reach a transcendental awareness of Mahler's inner musings. Barbirolli draws from the Hallé playing of delicacy and precision, establishing a clear case for having this CD in your collection.” Gramophone Classical Music Guide, 2010

“Sir John Barbirolli's Fifth occupies a special place in everybody's affections: a performance so big in spirit and warm of heart as to silence any rational discussion of its shortcomings.
Some readers may have problems with one or two of his sturdier tempos. He doesn't make life easy for his orchestra in the treacherous second movement, while the exultant finale, though suitably bracing, arguably needs more of a spring in its heels. But against all this, one must weigh a unity and strength of purpose, an entirely idiomatic response to instrumental colour and texture (the dark, craggy hues of the first two movements are especially striking); and most important of all that very special Barbirollian radiance, humanity – call it what you will.
One point of interest for collectors – on the original LP, among minor orchestral mishaps in the Scherzo, were four bars of missing horn obbligato (at nine bars before fig 20). Not any more! The original solo horn player, Nicholas Busch, has returned to the scene of this momentary aberration (Watford Town Hall) and the absent bars have been ingeniously reinstated.
There's even a timely grunt from Sir John, as if in approval. Something of a classic, then; EMI's remastering is splendid.” Gramophone Classical Music Guide, 2010

“this is one of the greatest, most warmly affecting accounts ever committed to disc, expansive, yet concentrated in feeling: the Adagietto is very moving indeed.” Penguin Guide, 2010 ***