Bernstein & Mahler – Financial Times

At the end the symphony blossoms in optimism, prefiguring the heart-warming end of Candide. This could be no other composer. Bernstein was a 20th-century one-off.
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Bernstein & Mahler – The Arts Desk

Alsop’s vision may have been clear, and beautifully shaped by the musicians of the LSO – strings luxuriating in the lovely melody of "Kaddish II", tuned percussion adding watery translucence to a texture blackened by sooty smudges of brass
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Adès, Mendelssohn & Brahms – The Observer

the London Symphony Orchestra played Brahms’s Symphony No 2 in D with utmost clarity, musical components fitting one to another with perfect ease and delicacy. You could hear precisely how the work was assembled, how one melodic or harmonic idea related to another, passed between strings and woodwind, timpani or brass. Transparent isn’t a word usually applied to Brahms. It should be. Haitink showed the way.
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Bernstein & Mahler – Classical Source

The LSO’s Adam Walker turned every mood beautifully, becoming both narrator and victim with unselfconscious identification, and Alsop and the LSO defined the orchestral role, hauntingly enlarged by solos from viola and a distant accompanying flute, with poetic tact.
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Adès, Mendelssohn & Brahms – Classical Source

Haitink – the master of seeming to do very little yet conjuring so much, the LSO playing like angels (attentive to the smallest detail and to varieties of dynamics) – led a Brahms 2 of notable integrity
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Rachmaninov & Tchaikovsky – The Times

The London Symphony Orchestra wasn’t fazed by their demands and, in Rachmaninov’s Second Piano Concerto paired with Tchaikovsky’s Fourth Symphony, the results were exciting and satisfying.
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Adès, Mendelssohn & Brahms – The Times

The young German violinist Veronika Eberle showed her spurs right from those passionate opening notes. The music flowed with a natural ease, while her colours and dynamics constantly mutated, sometimes bar by bar.
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Rachmaninov & Tchaikovsky – Seen and Heard

... from the moment that Georgian pianist Khatia Buniatishvili played the opening chords of the Moderato it was as if I had never heard this concerto before.  The quietly caressed clusters heralded a performance that really did feel revelatory.
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Adès, Mendelssohn & Brahms – Bachtrack

Haitink drew playing from the LSO of matchless luminosity. From here conductor and players (woodwind were superb) found the lightness of touch that can often elude performances of Brahms.
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Eisenstein's October with live score – Classical Source

Strobel guided the LSO through the two-hour-long score with great feeling for rhythmic vitality and perfect synchronisation.
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Brahms & Beethoven – Seen and Heard

The beautiful B major second movement found soloist and conductor in total harmony, Ax bringing a pianistic translucence anticipating the Nocturnes of Chopin. Throughout this movement Haitink achieved a wonderful sotto voce with muted strings and beautiful cantabile woodwinds.
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Eisenstein's October with live score – The Arts Desk

Conductor Frank Strobel and a tireless London Symphony Orchestra not only manage feats of near-perfect synchronisation as they illustrate factory whistles with chord-cluster woodwind, marching troops with bow-slapping basses and the tearing-up of railway tracks with anvils; they also pull off the difficult job of keeping a steely clarity in the near-relentless thrashes which sometimes made you wish ear-plugs had been offered at the doors.
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Beethoven & Brahms – Bachtrack

Indeed, the definition in the woodwind was one of the highlights of the performance, the interplay between the instruments clearly defined and outstandingly highlighted, with some beautifully clear playing from the flutes.
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