Although David Gutman may have regretted the absence of the Philadelphia Orchestra in Yannick Nézet-Séguin’s recent recording of Mahler’s Tenth Symphony (ATMA Classique, 12/15), there are no such concerns here. The Bavarians, with their long experience of performing Mahler, deliver superbly precise and expressive playing for their guest conductor. Nézet-Séguin’s careful attention to dynamics makes it clear just how much of the first movement is marked pp and ppp. Details that often make no impression in other interpretations, such as the muted brass chords two bars before fig 15 (10'08"), here make themselves felt and add tension to the performance. Similarly, the tolling tam-tam from 1'22" in the third movement is just loud enough to augment the texture without sounding unduly prominent. At the other end of the dynamic spectrum, Mahler’s many fff passages are presented with splendid attack and weight. The performance of the finale in particular marries discipline with power and impetus, bringing the symphony to a rousing conclusion.

On the debit side, Nézet-Séguin’s interpretation occasionally falls short in terms of warmth and characterisation. For all the verve of the performance of the Scherzo, the Trio comes across as rather prosaic and uninvolving. And although the double bass solo at the start of the third movement is wonderfully sepulchral, Nézet-Séguin’s interpretation of the klezmer music is surprisingly deadpan. ‘Mit Parodie’ Mahler asks, but the players merely deliver the notes as written. Performances of this movement were considerably more interesting when Rafael Kubelík was in charge. Despite these reservations, however, there’s a lot to admire in this new recording, and the sound is suitably clear and spacious. There is no obvious audience noise and applause has been edited out.