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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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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Beethoven & Shostakovich – Classical Source

With the LSO on fine, layered form – the strings were notably translucent – and Lugansky characteristically intelligent and robustly elegant, between them they didn’t drop a stitch.
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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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Beethoven & Shostakovich – The Times

From sepulchral basses to intense violins, the strings were formidable, as were the wind and brass solos — shrieking E flat clarinet and piccolo, eloquent cor anglais and bassoon, an ethereal horn.
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Helen Grime & Mahler – Classical Source

The coda, moreover, was rendered with a poise and finesse as can seldom have been equalled – itself confirming that the LSO is 'in tune' with Rattle to an undeniable degree.
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Boulez, Bartók, Ewan Campbell, Stravinsky, Debussy – Classical Source

Roth, a supportive, listening accompanist, ensured the structure held together, and the brass and percussion sections excelled in ways we know they can.
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Helen Grime & Mahler – The Times

I’ve never heard this orchestra play so quietly, as if on the threshold of extinction, nor this symphony evoke so many epochs of musical civilisation, from vibrato-less, quasi-Renaissance polyphony to the full flood of romanticism, and then on into remarkably prescient intimations of 20th-century dissonance and turmoil. The players looked exhausted by the end. Psychologically, so was I.
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Boulez, Bartók, Ewan Campbell, Stravinsky, Debussy – Bachtrack

What made this concert stand out was the exceptional quality of the playing by the London Symphony Orchestra. I haven’t heard it sound so alert and refined in every department.
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Giguère, Elgar & Sibelius – Classical Source

In the Finale’s ‘Swan Hymn’, Mälkki was concerned to bring out the complementary cellos and double basses as much as the swaying horn figures. Five years after the death of Sir Colin Davis his orchestra may have found a Sibelius conductor of comparable commitment.
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Sir John Eliot Gardiner's Schumann – Sunday Times

Gardiner’s feeling for the pace and bite of early-romantic orchestral language is more than a touch revelatory, as his Mendelssohn performances with the standing LSO in 2016 already made clear, and as the evening’s encore — from the Scherzo of Schumann’s Second Symphony — additionally confirmed.
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Giguère, Elgar & Sibelius – Bachtrack

The ever-so-musical Müller-Schott had an undeniably tonal beauty and every percussive element was kept with lyrical allure.
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Sir John Eliot Gardiner's Schumann – The Guardian

Gardiner remains one of the great Schumann interpreters, wonderfully alert to the music’s volatility and rigour. The LSO, on terrific form for him, played seated for the concerto ... Gardiner opted for the 1841 version of the Fourth, as opposed to Schumann’s denser rewrite of 1851, and the textural transparency and rhythmic elan proved utterly beguiling. The Genoveva Overture swivelled between Sturm und Drang turbulence and elation, while Overture, Scherzo and Finale was electric in its tension and excitement.
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