I've always perceived this symphony's opening trumpet call to be a symbolic representation of a military reveille, not in its usual rooster call manifestation, but rather as a warning of the horrific 20th century conflicts on the horizon. Therefore, the more ominous, foreboding and menacing the tone of the music, the better. But here, conductor Paavo Järvi lends the music a slower, heavier, more sullen feel than expected, which is highly fitting when you take into consideration Järvi's own booklet note statement: "the very nature of its opening - a military funeral - and of its tragedy". And of course, the following sorrowful lament taken up by the strings more than justifies this conception. And Järvi's slower than usual approach fully captures it as a tragic funeral procession tinged with anger. But then, at the 5:18 mark, where the conflicts begin, Järvi's tremendous change of pace proves highly effective. These conflicts lead to a cataclysmic upheaval at the 11:00 mark before the opening trumpet call slips away into the darkness.

The following movement marked "with utmost vehemence" is very effective here, as it rekindles the idea of struggle, conflict and loss. And Järvi's account of the lower strings only segment in the middle of the movement really pulls at the heartstrings. As well, the 'indestructible energy of life' portrayed in the following Scherzo movement is very well projected in this account. Its horn calls are hyperbolized, and if you don't feel a sudden rush of power during the final minute, check your pulse.

All of this brings us to one of Mahler's most famous musical statements, the lush Adagietto movement. The booklet notes contain this statement by conductor Willem Mengelberg: "This Adagietto was Gustav Mahler's declaration of love to Alma! Instead of a letter, he sent her this manuscript with no word attached. She understood immediately and wrote to him to come!!! Both of them told me this!" Some accounts of this movement have been too fast or way too slow and sickeningly, emotionally gushy, but at a length of 9:52, Järvi strikes the perfect balance and communicates the feelings of tender affection by the way he shapes the tonal character of the strings.

The final movement's upbeat character, which completely upends this symphony, is very well conveyed here. Again, if you don't feel a rush during the final minutes of this glorious performance, consider calling your doctor. This is the first release in a projected complete Mahler cycle and if it's any indication, we're in for a thrill ride.