Customer Reviews

Mahler: Symphony No. 10

5 star:		(5)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

until Rattle completely outdid himself with the new BPO recording of this work. The orchestra is better, the sound is better, and the interpretation is deeper and more understanding. I owned this one for years and always enjoyed it. It's now in the trade-in pile.

No recording of the music of Gustav Mahler moves me to the degree that this one does. From the other-wordly opening viola theme - surely one of the loneliest phrases ever written - to the final leap of the strings that seems to signify his final reaching out to the world, one is left forever changed by this music.

In comparing this recording and interpretation to other Cooke reconstructions (Sanderling, Inbal, Wigglesworth - regrettably I have not yet heard Ormandy, Levine or Chailly), the pacing and instrumentation just feels "right". Three of the noteworthy details from this version, in my opinion, are the earthshattering renditions of "the chord" that mark the emotional acme of the first and final movements, the drum strokes that link the fourth and final movements (beware listening in headphones - these will shake your very bones!), the painfully lovely flute solo at the start of the final movement, and the entire resolution of the final movement, from "the chord" to the end of the symphony.

The two other realizations that I own - Mazetti by Slatkin, and Wheeler by Olson from the Mahlerfest event, just don't sound convincingly "Mahler" to me - in places too cluttered, in other places with incorrect orchestration, though each recreation of this perhaps most emotionally powerful of Mahler's symphonies is essestial and fascinating listening. Now, if only the Carpenter recreation of Faberman could be reinstated to the catalog (it came and went in the blink of an eye).

Though I find the most interesting music to lie in the first, third and fifth movements, the entire symphony stands with the greatest of Mahler's inspirations, and one can only wonder what this masterpiece would sound like if it were completed by the composer. Nonetheless, we are fortunate to have recordings like this available for us to appreciate - they enhance our world.

Cooke said himself that Mahler's tenth would never be in itself a complete work of art and all he has done is to put a more substancial form to a thin framework. However, to dismiss this work because of it is a huge mistake. The thematic intent is all Mahler's: Cooke just added some orchestration to some of the movements, but either way it is powerful to the extreme, the climax following the quiet musing in the first movement is arguably the most moving passage written by any composer ever and the way in which it turns full circle and finishes with the adagio, which is warmer than the nineth and with more hope, is just sublime. Rattle is meticulous and at the same time brings out white-hot excitement from the music. He is without doubt the best conductor alive today, especially in this kind of music.

Deryck Cooke's version of the Mahler 10th has always impressed me. This recording is fabulous, the first one released by Simon Rattle way back in the early 80's. This work is very passionate and heartbreaking, but also has Mahler declaring his love for his wife, whom he was estranged from and later reconciled with. The last movement has some of the most beautiful music Mahler ever wrote. Sound and performance are excellent! Heartily recommended!

Almost 20 years separate Rattle's first recording of the Mahler Tenth (1980) and the celebrated one from Berlin (live, 1999) that was one of his first with his new orchestra. I went back to this earlier performance, which has ranked high for a long time, to see if the conductor had any early insights. Actually, he didn't. Contrary to the poisoned barb let loose by David Hurwitz in the Amazon review, the younger Rattle sounds callow compared to the older. Twenty years has brought noticeable growth.

This 1980 release is lightweight and performed only adequately by the Bournemouth Sym. It's certainly the least tragic, most optimistic Tenth I've ever heard. Since the CD is out of print (until EMI finds a way to repackage it) there's no loss in skip;ing directly to the later recording.

This recording of Mahler's Tenth (performing ed. by Deryck Cooke) makes it perfectly clear that the symphony must be considered a completely realized and polished masterpiece. It is Mahler through and through. Those in doubt must simply listen to the opening Adagio. Rattle and the Bournemouth SO are at their superb best, fully aware of the emotional impact their performance will have on the listener--this is some of Mahler's most beautiful music. The wonderful tension culminates in those dreadful, bone chilling discords--my God! Anyone who has been reluctant to listen to the symphony need not tarry any longer. You will NOT be disappointed. You will be drawn to the ultimate conclusion that this is a perfect fulfillment of Mahler's vision for the Tenth.

Yes, yes, there is no doubt this is strictly a "performing version" of an uncompleted work. This is most apparent in the third and fourth movements, easily the weakest of the bunch. You can argue that certain passages of orchestration don't sound authentically Mahlerian, etc., etc. However, there is no doubt that this IS the voice of Mahler. The sheer quality of the first and final movements outweighs all other reservations. Yes, yes, imperfect, but as the final utterance of Mahler's life and consciously intended to act as the conclusive chapter of the symphonic cycle, this is in many ways his most powerful and important work. If you are a lover of Mahler and haven't heard then Tenth, then disregard all debate and buy THIS recording, not the latter one Rattle did. Decide for yourself where this work ranks in the musical canon.

Agree that the last movement is excellent. But is it Mahler? Sounds different somehow.

This might be a beautiful performance, in fact I suppose it was. I bought this recording many years ago and when I heard it, I got the shock of my life. The fourth movement ends with a frightening timpani chord. The fifth and last movement begins with another timpani stroke (the first of many). Not so in this (and Rattle's newer recording, which I have not heard). Sir Simon (not Derycke Cooke) believes the last two movements should be linked. He therefore eliminates one of the chords and links the movements. Mahler's actual effect gave me the shock of my life. At the end of the next to last movement I settled down to hear the final movement. I was shocked to hear the movement start off with the same outburst of anger that closed the previous movement. Sir Simon, in linking the movements, killed that effect. Other renditions (Ormandy - unfortunately out of print, Levine, Inbal) don't do this. Cooke's final version (and preliminary versions) did not do that. This is the most important thing to know before purchasing this album. For me, what Rattle did killed the performance.