This is Mahler played like he is Beethoven. More than relying on Romantic gestures this is a Mahler who prefers a more "classical" approach. Like Mahler doesn't dare to follow his own Romantic footsteps. Like he is afraid of the implications of his own musical intentions and innovations. This is a reading of Mahler, relaxed yet swift (the whole symphony fits on one CD), that displays everything in a natural, organic way and doesn't care (too much) about making a sonic impression. Here Mahler seems to understand that true heaviness is the result of the cumulation of all ideas, and not of the emphasizing of just a few. Pretty much he lets the music take care of itself and by doing so he seems almost shy in comparison to some of the big names in the catalogue (I think of Bernstein whose readings of Mahler's Second - both his first and second offering in his two Mahler cycles - are terribly overblown). It's, for all its imperfections, the instrumental execution is far from razor-sharp, a performance that's lyrical, remarkable capable of putting the extremes in Mahler's score in the right perspective (its "Urlicht" by Mahler-champion Jard van Nes comes out most seductive and the climax sounds as the natural consequence of everything that preceeds it). Seemlingly effortless in achieving its musical aims, and, perhaps of its relatively restrained approach that invites more than it imposes, this performance never fails to move me and is, like a resurrection that lives up to its name, something that keeps coming back to me. Like a deep-rooted wish to defeat the temporality of life. A wish that, despite or thanks to the knowledge that one is immortal for only a limited time, seems persistent.