Andrew
I thought this was one of most convicing performances I've ever heard of the 9thm it meade sense structurally, I could follow the flow from movement to movement. I think the middle movements are musicically the weakest but all played with conviction. The 1st movement is one of most outstanding pieces of music ever written in terms of emotional intensity delivered with great power and authority. I adored the finale, its a shame people can't refrain from coughing at these moments, but I was transported far far away at the end, outstanding

David H Spence
Kurtag’s Stele opened notably with a quietly meditative account - a little more of a romantic, a little slower, less objective view of the piece than heard on disc with Gielen, but equally valid.Ilan Volkov made a dry, but clear, unfussy opening of its opening bars and ‘Lebewohl’ theme of the opening to Mahler 9. One knew before midway into an at times breezy, but always moderately paced Andante comodo that this was a performance to understate the frenzy and catharsis of the drama within it and morbid bathos that can arise from it. Here was a view on it instead as looking ahead to the new ground that this piece would break. Volkov had lyrical episodes of the first movement yield just a bit much to an at times irresistible, but always gently coaxed forward motion. Even so and fleetingly (for greater poignancy this way) perhaps as it sounded, all lyricism from strings, winds, horns of BBC Scottish was responsively in full blossom. Such was so clearly evident, and beautifully prepared for the full repose found at the end of a very cogently shaped, but also so poetically realized opening movement.The two central scherzi moved quickly, but with loss of character evident to only the most sensitive ear. The rambunctious boorishness of the heavy laendler in the first of these emerged in full, as well as the sense of the dance being over before the movement is, but without pointing such out the least bit oppressively. There was neither speed here to emphasize the virtuosity of the BBC SSO in this scherzo, nor in the next. The very hectic character of the Rondo-Burleske received keen attention here, with parody of Third Symphony march fully realized (especially in interjections from principal clarinet) and jaggedness of all competing voices rising to the fore as well. Volkov just seemed to me a bit glib in negotiating placement of the harp glissandi toward the end of an otherwise perfectly reposeful trio section.The maturity of Volkov’s vision and realization became fully prominent in the Adagio, out of which Volkov spun a grand and noble hymn. He also caught in full the asceticism and world-weariness of its quieter interludes, very movingly shining so much light through bright sonorities right before the final ritornello. This was an Adagio that put morbidity, bathos on hold for its entirety. The simplicity and utmost sincerity of Volkov’s musicianship was such that this was so. One could have asked for greater tempo contrast of final page to it (Adagissimo) from Adagio before. Volkov only would have yielded as such if he felt ready. One would not want to replace this Mahler 9, just as it was - an interpretation that already has come a distance from one I heard last March with the same forces. Ancerl on disc brings to mind closing verses of ‘Abschied’, with its eternal bursting forth of green, and bright shimmer of blue from firmaments above. No greater compliment to pay than to say how close Volkov has come.

Kevin McD
Thanks for this; Mahler v good but the Kurtag was a revelation! Why has Colkov all but disappeared from Radio 3 lately - he's one of the most exciting young talents around?!?

Gwyn
Kurtag was a composer unknown to me,but this performance was a revelation...The depth of the lower strings ,the precision of the woodwind and brass....Volkov is sensational.

Nick Mercer
The Kurtag piece provided an inspired preface for Mahler's 9th. I was at the back of the arena and I'm convinced it was the finest place to be - both acoustically and emotionally. The audience there listened - no rustling, no sibilant whispering and best of all no incomprehensible applause between movements. They provided a fitting setting for a challenging but infinitely satisfying piece of music that seems to grow each time I hear it. After practically 3 hours on my feet I left feeling invigorated and eager to listen with fresh ears to my Kurt Sanderling recording.

Richard
Brilliant performance of Mahler's 9th although the ending was nearly ruined by someone's mobile phone going off just after the last note had died away.

Simon Horner
The sombre Kurtag made for a great opener-Volkov has a more certain grasp of this piece than Abbado on the DG recording. Mahler 9 was nearly up to Volkov's account of the 7th from a few years back-very clear sighted in structure, I was particularly impressed with the inner movements: the 2nd scherzo almost became a concerto for the cackling clarinet section who threaten to undo any attempts at seriousness. Volkov realised this marvellously. However,the outer movements aren't quite there yet.