Fedoseyev’s Mahler 
                5 is a perfectly respectable one but 
                as with other releases from this series 
                that I’ve heard it’s rather let down 
                by the recording. The dry acoustic and 
                lack of warmth certainly act against 
                the playing and of more concern are 
                those moments of muffled percussion 
                and occlusion of string lines. This 
                is the case throughout but of concern 
                in the first movement where cello and 
                viola lines become muffled and sometimes 
                indistinct. Otherwise the performance 
                is marked by a certain degree of briskness. 
                The opening trumpet statement is formal, 
                straight, clean limbed and unheroic 
                and the curve of the music generally 
                is untouched by much incipient tragedy. 
                There are moments in the opening movement 
                as well when tension fractionally slackens; 
                the grip and the rise and crest of the 
                greatest performances are somewhat missing 
                here. Nevertheless there are fine things, 
                not least sectional discipline in this 
                live performance culled from what were 
                apparently three performances (or maybe 
                live performances augmented by patching 
                – the notes aren’t quite clear). 
              
 
              
In the second movement 
                Fedoseyev tends to cultivate a rather 
                bleaker sonority than, say, Kubelík; 
                the Russian performance is commensurately 
                lither though the orchestral sound is 
                less complex – the acoustic perspective 
                is flattened and clarinets and triangle 
                sometimes equally audible. In the Scherzo, 
                where Kubelík was inclined rather 
                to italicise the opening horn call, 
                Fedoseyev replicates the clarity and 
                sang froid of the opening of the work 
                whilst in general he tends to lack the 
                Czech conductor’s evocative verdancy 
                or vivacity, even given that this wasn’t 
                necessarily the most consistently inspired 
                recording from Kubelík’s cycle. 
                And despite the obvious excitement of 
                the work’s end and the technical prowess 
                of the orchestra, the Adagietto is dry-eyed 
                (though certainly not over brisk) and 
                the impression as a whole one of a certain 
                restraint. As such it clearly represents 
                a more austere approach, but its relative 
                coolness is hindered by the recording. 
              
 
              
Jonathan Woolf