Mahler’s score attracted the attention of ‘modernist’ conductors long before Gielen and Boulez. Rosbaud’s radio tape, dating from 1957, is accomplished for its time. The approach is not just cerebral but strong and driven. Least sympathetic are those genre episodes which call for charm and flexibility: the fourth movement is taken at a wholly insensitive lick. Elsewhere, although Rosbaud may be wont to press forward abruptly, he always reverts to sensible tempos.'