None of [Yoel Gamzou’s] additions seems to add anything substantial to what, thanks to Cooke and his assistants, we already know of this extraordinary work. But, though what Gamzou has done may sometimes seem superfluous, it never traduces the spirit of Mahler’s original, just as his choice of tempi and often self-indulgent rubato tend to be irritating rather than destructive. There are transfiguring moments in his performance, too: the long flute solo that floats over hushed strings near the beginning of the Finale is as beautiful as it’s ever been on disc. Mahlerians will certainly want to hear what this all adds up to, even though they will probably revert to their own favourite performances of the Cooke version afterwards.  Andrew Clements