Noseda is first rate when it comes to grasping the structure of big, complex works, not just as architecture but as a living, evolving process...Kowaljow may not be as commanding presence as Yevgeny Nesterenko, but he enunciates wonderfully, so that even with my very basic Russian I felt he was speaking directly to me.

there can be no reservations about the magnificent orchestral sound of the LSO. The interludes in the first movement are terrifying, and Noseda never tries to mitigate the hard edges or the frontal sonic attack in his portrayal of a visceral horror.