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Bruce Surtees
The WholeNote, September 2016

Every performance is quietly engaging in tempi, choice of phrasing and subtle variations in volume—not for the sake of doing something differently from accepted practices but because it sounds exactly right, prompting one in each case to hang on to the work with fresh interest. These are performances that invite the listener in and hold her or his interest through to the last note, especially if that person is familiar with other versions. The sound is very good… © 2016 The WholeNote Read complete review



Rob Cowan
Gramophone, June 2016

…an imposing but pleasingly verdant performance of Schubert’s Great C major, …fine performances of Schubert’s A flat Mass D678, Offertorium D963 and Brian Newbould’s arrangement of the D major second movement Andante from the Tenth Symphony, wonderful music that engages both the head and the heart. © 2016 Gramophone Read complete review on Gramophone



Lynn René Bayley
The Art Music Lounge, April 2016

In listening through the performances on this superb set, I enjoyed anew Gielen’s superb, clean-lined musicality and architectural approach to each score. In one respect, he was like Toscanini in that he utterly respected the composer’s written directions and tried hard to bring out everything on the printed page with feeling (something that most modern conductors, also obsessed with score-accuracy, do not do).

The conductor’s readings of Haydn Symphonies are remarkably similar to those given by Toscanini with the NBC Symphony back in the 1940s, which is to say, austere but lively. © 2016 The Art Music Lounge | An Online Journal of Jazz and Classical Music Read complete review



Michael Wilkinson
MusicWeb International, April 2016

Of special interest is Gielen’s arrangement of Mahler’s transcription of Death and the Maiden. This performance retains the clarity of the original four instruments but creates the opportunity for some greater contrasts in tone. The pace is not too rapid, but tension and interest is maintained throughout. Any transcription brings gains and loss—it is always a palimpsest—but here a palimpsest which is significant in its own right. © 2016 MusicWeb International Read complete review




Remy Franck
Pizzicato, April 2016

Michael Gielen certainly was one of the great conductors of the 20th Century’s second half. So, this is a more than welcome homage, starting with a box comprising overall excellent and, in some cases, even outstanding recordings. © 2016 Pizzicato





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