Forget Deryck Cooke: it’s not what it says on the tin. For this overblown ‘life and death’ soundscape Matthew Herbert has sampled Sinopoli’s 1987 Philharmonia recording of the Tenth Adagio, layering and cutting into it with solo viola (flute, Mahler’s ‘singing bone’, would have been more apt) and ambient sounds at Mahler’s graveside and Toblach composing hut. Recordings were made from a hearse and inside a coffin and ‘we buried microphones in an urn’. Play the nine tracks out of sequence and the ‘unexpected artistic consequences’ are your own responsibility, it warns! Such pretentious indulgence ought to make this eligible for a Turner Prize.

Sound Quality: 40%