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Mahler: Symphony No. 10 ~ Harding Import


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Audio CD, Import, April 30, 2008
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Editorial Reviews

MUSICA CLASICA/CLASSIC MUSIC

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
listen  1. Mahler: Symphony No.10 in F sharp (unfinished) - Ed. Deryck Cooke - 1. AdagioDaniel Harding25:52Album Only
listen  2. Mahler: Symphony No.10 in F sharp (unfinished) - Ed. Deryck Cooke - 2. ScherzoDaniel Harding11:08Album Only
listen  3. Mahler: Symphony No.10 in F sharp (unfinished) - Ed. Deryck Cooke - 3. PurgatorioDaniel Harding 4:00$0.99  Buy MP3 
listen  4. Mahler: Symphony No.10 in F sharp (unfinished) - Ed. Deryck Cooke - 4. ScherzoDaniel Harding11:59Album Only
listen  5. Mahler: Symphony No.10 in F sharp (unfinished) - Ed. Deryck Cooke - 5. FinaleDaniel Harding25:03Album Only

Product Details

  • Audio CD (April 30, 2008)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: Dg Imports
  • ASIN: B0014G5LG2
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #261,603 in Music (See Top 100 in Music)

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Customer Reviews

3.9 out of 5 stars
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Most Helpful Customer Reviews

10 of 10 people found the following review helpful By Santa Fe Listener HALL OF FAMETOP 1000 REVIEWER on September 4, 2008
Format: Audio CD Verified Purchase
Here for his debut on DG Daniel Harding competes on Simon Rattle's home ground. Rattle, too, was a rising star while quite young and made one of his early successes with the Mahler Tenth, a work he as gone on to conduct more than a hundred times, amazingly. Harding, however, was the first to introduce the whole work to the Vienna Phil, in 2004. Both conductors use the revised Deryck Cooke performing edition (the only one to gain wide acceptance in the concert hall), and both meet the challenge of making the Tenth sound like real, fleshed-out Mahler rather than a collection of sketches surroudning two completed movements. I'd say that Harding goes as far as Rattle in giving us a moving performance with every ounce of Mahler's complex tonal and emotional world, and in the bargain he is more freely expressive and involving.

Harding's intent to pull us in is evident from the first bars of the great Adagio, which he molds the way a gifted Chopin pianist molds a nocturne. Literalists will want to stay at home, needless to say, once they realize how flexible the tempo and phrasing are going to be. Harding doesn't press the line as fervently as Bernstein, and he's not as coolly technical as Abbado, Chailly, or Rattle in his second recording from Berlin. Harding's approach is almost purely emotive, aiming to wrap us in a spell that will hold through the rougher, skimpier patches to come.

The Vienna Philharmonic is the perfect ensemble for him, given its effortless expressivity, although DG's slightly tubby, resonant recording could be cleaner. Another notable thing about Harding's style is its soft grain; he eschews sudden explosions and eruptions, preferrring a seamless line a la Karajan (a name I'm invoking in a positive sense).
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9 of 10 people found the following review helpful By Pater Ecstaticus on May 2, 2009
Format: Audio CD
Mahler 10 is one of my favorite symphonies, not just because it is 'beautiful music', but especially because it is so very different from anything Mahler ever created, I think. First of all I am drawn to this symphony (can one really 'love' this music?) because of the weird and wonderful, sometimes horrific, soundworld it inhibits - with its nervous unease but also desperate longing - and the dangerous flirtings with atonality and its bone chilling emotional implications: with Mahler, the atonal episodes (often forte or fortissimo) in his music surely stand for (sometimes utter) fear and despair ... Yes, this is music about loss and fear of death, but also it is music about the deepest possible passion for life and love!

If I may be allowed to compare this recording with one of my favorite recordings of this symphony, namely the one by the Berlin Philharmonic Orchestra (BPO) under Sir Simon Rattle. This performance by the Vienna Philharmonic Orchestra (VPO) under Daniel Harding is long breathed and flowing (at about the same playing times for all movements, compared to Rattle). The playing in the recording with the BPO under Rattle is more sharply accentuated, which has an emotonally jarring effect (which is indeed very appropriate, IMHO). The climaxes on this VPO recording are more gradually built up but at the same time powerful. The whole recording is characterized by a deep sense of coherence and 'flow' - a 'warmer', more enveloping sound too (an objective statement, because the somewhat more 'jittery' playing and the more directly recorded instruments - accentuating their individual timbres - on the BPO/Rattle recording is an utter success, to my ears).
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8 of 9 people found the following review helpful By Amazon Customer on November 14, 2008
Format: Audio CD Verified Purchase
OK, other reviewers have gone on and on about the Vienna factor. What I think is remarkable, is how UNLIKE this sounds like the day-to-day VPO in Mahler. Their response is far sharper; more rhythmic; more fleet than usual - particularly in the middle three movements. Compare this to the marmoreal sounding Maazel performances - not to mention the Abbado/VPO M9/M10 Adagio - and you'll hear a world of difference! Another big difference is in the sound quality.

Most recordings made in Vienna's shoe-box shaped Musikverein, have come from live sources. This must be a studio recording. This is the first recording of a major work played by the VPO that can begin to approach the sonic results that they regularly used to get, "back in the day", at the old Sofiensaal (eventually burnt down). Sonically speaking, this is far better than what you hear on either the Kaplan or Boulez Mahler "Resurrection" recordings, for example. Point is, the sound is excellent.

Here's another "Vienna factor": the 10th - especially in the Cooke edition - has always sounded a bit too thin, or too "nude" in the bass. The Musikverein, on the other hand, has always been generous to the lower end of the audio spectrum, and the Viennese double basses and celli are among the best anywhere. As a result, and as mentioned previously, the Vienna Phil. make the Cooke version (Goldschmidt, really) sound more filled out; more natural; more complete.

All this said, there are performances I like better for tempo relationships. The two outer movements aren't nearly so slack sounding on the recent Noseda/BBC Phil. M10 (Chandos), while their "Purgatorio" (middle movement) doesn't sound quite so rushed either. Still, the Viennese strings can sustain excess slack in the outer movements better than most.
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