That was heavily panned by this review above
Although it's not a period instrument performance.
It was a performance where Mahler was performed without vibrato with this justification "“normal with all orchestras until the 1920s. We don’t believe Mahler ever heard a classical orchestra…playing with permanent vibrato.” "
Although the counterargument was that this is clearly false by the review "In a famous series of recorded interviews with musicians who actually played under Mahler (included in the New York Philharmonic “Mahler Broadcasts” set, and previously issued by Sony in Bernstein’s first cycle), Herbert Borodkin, violist with the New York Philharmonic from 1904-09, recalls that Mahler “used a lot more vibrato than most conductors do today (1964!). He insisted on it. He asked for it. When you played a melodic tune, you would have to use a lot of vibrato and sing, as he called it.” Violinist Herman Martonne (in New York from 1905-09) notes the same basic facts concerning Mahler’s requirement that the strings adopt a distinctive, “singing” tone, and further comments on this style as being idiomatically Viennese. Martonne was a student at the Vienna Conservatory at the turn of the century and witnessed performances by Mahler both at the Court Opera and with the Vienna Philharmonic. Could the truth in this regard be made any clearer, short of Mahler himself rising from the grave and shouting, “Put the vibrato back, stupid!”?"
Also there seems to increased in tempo "there’s the ghastly (in this performance) Andante moderato, which Mahler further marks “very leisurely, not rushed”, which of course is a cue for Norrington to offer a clipped (he shortchanges rhythmic values everywhere), brusque, hurried run-through. "
However surely who cares. if Modern orchestra are able to imposed their style over composition surely Norrington can put his unique spin/vision on Mahler's work even if it is inauthentic. I prefer the non-vibrato sounding violins over the excessively smooth vibrato sound of modern playing.
Maybe it would sound better even if it non-authentic?
I must chased Norrington's interpretation of Mahler down.