This is the first release from the Chicago Symphony Orchestra’s in-house label. It’s easy to understand why Mahler’s Third Symphony would seem the ideal work with which to launch this venture, as it gives a chance for every section of the orchestra to shine. And shine they do. The brass have a thrilling weight and authority, particularly in the first movement’s portentous fanfares; there are some ravishing woodwind solos in the Minuetto and Scherzo; and in the Finale, the strings display the communicative warmth they developed during Barenboim’s tenure. Actually, I rather wish that Barenboim had been able to record this symphony with this orchestra rather than Haitink (who has taken over as principal conductor), particularly as Barenboim’s recent Berlin recording of the Ninth sounds so arresting and freshly conceived (Warner Classics, 6/07).

Haitink has recorded Mahler’s Third many times – first with the Concertgebouw Orchestra in the 1960s (Philips, 11/88R), then with the Berlin Philharmonic in the ’90s (4/92R), and at least two live recordings are also available. Perhaps he’s recorded it too many times, given the relative dullness of this reading. The first movement is infuriatingly stodgy, so although the orchestra’s heft is sonically effective, the consistent lack of propulsion robs even the weightiest passages of their potential power. Things look up in the Minuetto, which is finely detailed, but the Scherzo, again, sounds sleepy. Michelle DeYoung (who has recorded this work twice before) sustains her part well but her voice has developed a pronounced and distracting beat. After an unsettled start, the Finale finds its groove and builds to a reasonably satisfying conclusion – though there’s a distinct lack of focus compared with Haitink’s Concertgebouw recording. The recorded sound is terrific but otherwise this is a major disappointment.