"The Fifth is a cursed work. Nobody gets the point of it." That was Gustav Mahler's frustrated comment on the performance of his latest work in 1905 in Hamburg, where as former opera director he should have been able to count on staunch support. In the same vein, an Italian who had to copy the score for a concert in Trieste shortly afterwards - complete with the composer's numerous changes - irritably scribbled the words "la sinfonia maledetta" on the cover sheet.
“following the stormy division at the heart of this first movement, Saraste and Mahler seem to find each other; and with that newfound kinship, the identity and sound of the performance...seem suddenly to come to life...Saraste finds within it something so personal and so inward-looking that it is as if he is placing all his his Mahlerian credentials on the line...Mahler collectors would be well advised to give him a spin.” Gramophone
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