Tippett & Mahler – Daily Telegraph

Rattle has surely done nothing finer since his arrival at the LSO.
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Tippett & Mahler – The Times

Rattle had the symphony internalised, conducting without a score, and the LSO were on inspired form. The variety of string tone and colour, in particular, seemed endless: ghostly, rich, shadowy, snarling and compassionate.
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Tippett & Mahler – The Arts Desk

Where’s the progress, the dramatic picture, other than in contrasts? It doesn’t really matter when a sound-master like Rattle pays attention to each exquisite sound and his LSO play as carefully as they did last night. 
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Helen Grime & Mahler – Evening Standard

The aspiring, string-rich lines and voluptuously bitter-sweet harmonies have an almost Mahlerian quality and provided a suitable complement to his Ninth Symphony.
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Tippett & Mahler – Seen and Heard

This symphony clearly demands a great conductor and an equally great orchestra to bring it off successfully and there can be few better partnerships – in this repertoire – than Rattle and the LSO.
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Tippett & Mahler – Classical Source

A superb response from the LSO, not least the percussion with its defining role for rototoms, fairly set the seal on a reading that reaffirmed Tippett’s ultimate work as a defining one of the late-twentieth-century.
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Tippett & Mahler – The Guardian

The performance was well-nigh faultless, with Rattle and the LSO wonderfully alert to Tippett’s exquisite scoring throughout.
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Tippett & Mahler – Bachtrack

The playing was on a high level throughout, marrying sensitivity with virtuosity, and what was especially remarkable was how in the very last movement the conductor was able to mobilise ever-greater reserves of tonal amplitude from the strings, so that the closing pages unfolded with an aching inevitability.
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Helen Grime & Mahler – The Guardian

The LSO sounded glorious in the finale, as its moments of noble assertion gave way to the uneasy calm of despairing acceptance.
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Tippett & Mahler – Financial Times

The unfinished Symphony No.10, played in the completion by Deryck Cooke which Rattle has been conducting from his earliest years, was profound, numbing, deeply moving.
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Helen Grime & Mahler – Seen and Heard

Tautness of rhythm, unity of purpose from Rattle and the LSO could hardly be faulted.
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Helen Grime & Mahler – Finanical Times

In three movements Woven Space has the concentration of a symphony, and, dazzlingly played by Rattle and the LSO, it was more than a curtain-raiser to what followed.
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Helen Grime & Mahler – Daily Telegraph

Conducting from memory, he took full charge right from the start of an unrushed opening movement; gathering up its hesitant first steps to recall what Bernstein described as the composer's "faltering heartbeat", Rattle was soon drawing magnificently saturated sound from his orchestra.
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