a recorded spaciousness...lets every ensemble and solo spirituality resound. That's in evidence from the first magnificent horn cry, to the infinite depth of the truly noble timpani - magnificent throughout - at the end...Nott rejects abstraction, finding tangible vocal expressivity in every little counterpoint and detail...Fujimura's voice is mysterious but young and fresh.

This is proving to be a searchlight among Mahler cycles...It isn't the spectacle of power of Nott's Mahler that singles him out...but rather an intimate and highly idiomatic understanding of the style and sensibility of the music that sets him apart...Nott is scrupulous about [details] but, far more important, he knows why they are there.