Recent decades have seen an aesthetic impose less romantic and more objective underlining that Mahler was experimental. The two great representatives of this style of interpretation are Pierre Boulez and Michael Gielen, the remarkable foix by their clarity and fluidity. 1. Michael Gielen applies to Mahler techniques that are those of "baroqueux" He plays nothing but the partition but any partition. And this is what makes the difference. Each instrumental desired hue by the composer is thus restored (and God knows scores of Mahler swarmed details). 2. It makes this music its balance, fluidity and shape. We thus realize to what heights Mahler headed, having completed the Adagio of the Tenth symphony, the other movements that exist only in the form of drafts). We have here a very good version of the "Kindertotenlieder" here sung by a female voice (Personally, my preference is for the baritone voice. One more so appreciate this interpretation it is magnified by a decision of his perfect, attentive to detail than ever without the great line is absent.
Remaining impervious to the music of Webern, I will refrain from comment.
