Symphony no. 3

"This is the concluding instalment and is as impressive as the Eighth; it would seem that over the period of performing and recording these symphonies, orchestra and conductor have increasingly refined and developed their Mahlerian acumen ... The sound quality here is one of its greatest attractions and BIS have already released a box set of all ten symphonies if you want the best modern Mahler on the market in terms of recorded sound - and some fine performances, even if not all are of equal quality".

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"That's the end of Osmo Vänskä's Mahler cycle from Minneapolis. I expect that by now most collectors will have made up their minds about the cycle. If you like high-octane intensity in Mahler, as dispensed by the likes of Bernstein, Solti and Tennstedt, then Vänskä is probably not for you. His approach is more objective, some might say cool. I've found the cycle to be occasionally variable in terms of the interpretations, and although I've never been seriously disappointed ... I've expressed one or two reservations about Osmo Vänskä's interpretation of the Third symphony but for the most part I've enjoyed and admired his reading of this huge score. He has been admirably served by his singers and by the first-class orchestra which he led for 19 years".

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"Osmo Vänskä unerringly guides the orchestra through this maelstrom of emotions, and they respond magnificently. It seems that this recording was made the day after a live performance, so it is no surprise to me it comes across as a thoughtful performance ... I have been extremely impressed, and I can confidently recommend it, especially if you want to hear a technically outstanding recording".

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"Presto disc of the week: Haitink has long been regarded as one of our least egocentric and interventionist conductors, and I don't think I've ever felt that more keenly than on this recording ... Throughout the long first movement in particular, there's a sense that the music is simply being allowed to unfold itself organically rather than being driven too hard".

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"Recording of the month: Haitink and his Bavarian players respond with substantial vigour and often impassioned orchestral splendour ... In Haitink's hands the music feels like a portrayal of the transformation in the forest from day into night ... In a haunting rendition German contralto Gerhild Romberger displays her smooth, creamy voice to significant effect creating a sensual atmosphere ... Impressive singing from the Augsburger Domsingknaben and Frauenchor des Bayerischen Runfunks that communicates warm sincerity ... This live Haitink account on BR Klassik has real gravitas and is certainly worthy of joining my recommendation list".

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"Recording of the month: "Fischer ... is a challenge, inviting listeners to rethink and recalibrate their responses to the piece. Not everyone will be prepared to make the leap, but those who do will be handsomely rewarded. Without question, the finest instalment in Fischer's Mahler cycle to date; and what breathtaking sound".

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"There are great recordings ... that have a special place in my own Mahler collection for one reason or another, but Honeck's execptional account, magnificently played and nobly conceived, now takes a place of honour alongside them".

"This is a fine-sounding Mahler Third - up there with Manfred Honeck's Pittsburgh account in the sonic stakes ... The playing of the Minnesota Orchestra, here completing their Mahler cycle, is, as we have come to expect, most accomplished. But - and it's a big 'but' - my overalle impression of the performance is one of 'uniformity', a feeling of sameness in terms of tempo, shaping and characterisation".

"Stenz is good at grabbing the listener's ear with the dramatic gesture. So too does he move from the broad expressions of the opening to the more subtle moments, by turns folk-like and ethereal, in the movements to come ... At 94 minutes this is a brisk Third that rarely feels rushed, due to both Stenz's control and ... the Cologne Philharmonie ... Where it stumbles, albeit briefly, is in the voices".

"Vurdering: E (Editor's choice)" - "This is proving to be a searchlight among Mahler cycles - a conductor, Jonathan Nott, and an orchestra, the Bamberg Symphony, who throw up more revealing detail and say more about these symphonies than many of the established heavyweights".

"While the performance feels most engaged when the music is in repose, the inner movements are more than adequately eloquent. The excellent posthorn solos in the third are credited to Martin Angerer ... Gerhild Romberger has an old-fashioned contralto-ish timbre in the Nietzsche setting ... The choirs sound lovely in the fifth movement and the finale has always been a Haitink speciality, plainly spoke and all the more moving for it".

"[In] Mahler's flabbergasting first movement ... Fischer makes something really outrageous of the Ivesian development section ... Mahler's flora and fauna then come vividly alive in the inner movements, the 'flower' movement nuanced with real Viennese charm ... The soloists Frank Ludemann keeps those solos simple and true - and thus all the more moving. Larsson is truly the voice of wisdom and experience in the Nietzsche setting, the perfect colour".

"Uttrycksfullhet, detaljrikedom och omsorgsfullhet har blivit något av ett signum för Fischer och den orkester han själv grundade för drygt tre decennier sedan. Frågon är om Budapestorkestern någonsin har varit bättre: silkeslena stråkar, klart och uttrycksfullt träblås och ett brass med imponerande tyngd och med härligt utmejslade trombonsolon ... en angenäm lyssningsupplevelse".

"Editor's choice: Here for once is a Mahler symphony release that feels different from the outset ... I doubt whether there has ever been a more precisely focused, more sheerly beautiful recording of any Mahler work ... Reluctant to parade its roughest edges and disinclined to hurry, Fischer instead elicits a range of pristine, jewel-like colour that leaves its fabric refreshed ... This Third is a must-have".

"Vurdering: E (Editor's choice)" - "A Mahler Third from Mariss Jansons in Amsterdam that looks on the bright side".

"The conductor's take on the gigantic Third is much as expected ... The playing is always fortright and forward-looking with Gergiev tending to dispense with gaps between movements".

"The recorded sound is magnificent, with plenty of transparency allied to great warmth. This is an immensely satisfying new release from every point of view".