I like your percussion use here, as well as the tremolo!

I noticed something sounded different from the Cooke in the strings at the climax at 1:48. I might be misremembering, though.

What's the percussion used at 3:04? It sounds kind of like a muffled gunshot.

Perfect pause at 3:52! It reminds me a bit of Janáček.

5:11 — What's the breathy, wind-like sound supposed to be?

9:32 or :33 — There's a note in the strings that sounds lowered in comparison to the Cooke.

I quite like the col legno battuto bit in the ending. Glad you used it too!

Tremolo was a very useful resource. There are several climactic passages-4:40, 7:30, 8:46-where Cooke gives as much as possible to the brass, creating textures that are thick and oppressive, to my ear. In each of these cases, I eased up on the brass and used string tremolo to generate excitement instead, for results that are much more transparent. The only case where I have any misgivings about my approach over his is 3:39/8:26. The vaulting arpeggios he uses there are incredibly effective, but I didn't feel I could justify following his lead. He adds arpeggios all over this movement to highlight its similarity in tone to the first movement of Das Lied von der Erde, but I feel that if anything, that similarity shouldn't be emphasized too much lest it seem like Mahler is retreading the same ground. Besides, adding arpeggios takes very little mental effort-if Mahler had wanted them to be a pervasive feature of this movement, I imagine he would have gone to the small trouble of hinting at it every once in a while. Thus at 3:39 and 8:26 I take the block chord accompaniment straight from the short score, giving it to tremolo strings so it doesn't stagnate.

At 1:48 there is a large caret at the barline, and a four bar insert at the end of the line with a question mark next to it-see the bottom of page 5: http://petrucci.mus.auth.gr/imglnks.....Hs.41000-4.pdf Cooke says the insert "does not fit well here," but I like the way it connects the counterpoint more smoothly, and I found that the orchestration worked out better when I included it.

The percussion at 3:04 is timpani, marked ff. The obvious choice for pitch would have been B2 because B is the bass note of the chord, but I chose E2 instead so as to be low enough on the range of the instrument to sound flabby and dull. I'm also considering adding a direction to deaden the stroke by keeping the mallet on the drumhead rather than letting it bounce off, but I'd have to have a timpanist demonstrate this for me before I can be sure it's what I want.

What makes the moment at 3:52 feel so different from the Cooke is that he sets it up with a ritardando, while I use an accelerando. Three bars before the silence, Mahler writes out a bar of a slurred eighth note accompaniment like the one at 2:09. I felt that this kind of figuration makes no sense if the passage were to become increasingly ponderous, but if it were allowed to rush forward, it's perfectly effective.

5:11 is viola and cello harmonics. Sibelius renders them as a bit more ethereal than they really would be.

At 9:32...you know, I hadn't actually noticed that. The accidentals in this passage are very hard to read and very weird-see page 23 of the short score. Cooke takes system 3, top staff, second note to be C-sharp, while I take it to be C-natural. Either makes notational sense-if it were to be sharp, it would obviously have to be marked as such, while if it were to be natural, it would call for a courtesy accidental in light of what seems most likely to be a C-sharp on the middle staff. I'll think more about whether either choice makes better harmonic sense.

I did change the note at 9:32, as well as incorporating all the other revisions I've made since the first time around. I hadn't planned to update the MIDI until I got around to adding live flutes, but my workflow has changing to make it easier to do, so I figured I might as well.