The benefits of a period-instrument approach to Mahler are not yet quite proven: what immediately grabs the attention here is the supple solo flute timbre and boldly open, splendid horn sound; it is not until the third movement that the glassy sound of the strings (though not without vibrato) and the plangent oboe emerge with the greatest eloquence and simplicity. Herreweghe is never an extrovert interpreter, and after some very scrunchy, pointed dissonant climaxes, he lets the music float with Rosemary Joshua's ethereal soprano solo in the last movement, fading to nothing in eternal bliss. Distinctively pure and touching.