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 – 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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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 – 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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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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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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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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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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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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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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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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