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Mahler Symphony no 10

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#81 ·
CnC Bartok said:
In the past few weeks I've managed to hear the Morris Tenth, and I think very highly of it. There are moments where I feel he is a little bit too "polite", and it all feels a little bit too controlled, but it is a very passionate and well phrased performance.
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That sounds encouraging. I've been pondering about getting the HDTT transfer of the Wyn Morris Mahler 10, but have held back because of past experience with HDTT's vanilla-style sound orientation. Recently it's been re-mastered in Japan and released by Decca (think that's a Tower Records special edition). Thiat sounds even more tempting.
 
#82 · (Edited)
flamencosketches said:
This one looks intriguing:

Image


Most of the Mahler recordings in my library are older, so it would be nice to get one from a young/active conductor and orchestra. I guess I'm looking for the Deryck Cooke version.
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I own this on CD. I was quite positive when I streamed it next to others like Levine.

But I wish I liked it more... It's not a symphony completion I want to listen to when I do Mahler marathons...
 
#83 ·
flamencosketches said:
I have heard great things about Barshai's Mahler 5th with the Junge Deutsche Philharmonie, but I'm not in the market for another 5th recording at the moment. This 10th is a performance of a reconstruction by Barshai himself. Has anyone here heard the Barshai reconstruction?
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Barshai's 10th is definitely worth hearing, and if you shop around you can get it in a double-CD set with his excellent 5th.

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#87 · (Edited)
^^

I was on the verge of buying it. I thought it could be really special as it was remastered in 24bit from the Original sources. I was looking for a 10th with English flavour to resemble the playing of the London Philharmonic, and I challenged up to 10 recordings included this one (the youtube video by Mischa Horenstein). It's true that while the SQ is never like the CD, because this was a bad LP rip, the conducting and sometimes the playing was not winning me over a single bit.

So in the end I made a different top 3 of recordings that I should relisten or buy. This wasn't worth the 40€ for me.

Granate said:
Image


I own this on CD. I was quite positive when I streamed it next to others like Levine.

But I wish I liked it more... It's not a symphony completion I want to listen to when I do Mahler marathons...
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This in the end made my top three of recordings: in comparative listen, it is the most spotless and powerful playing in the market, in my opinion. When I listen to it alone, it becomes bland at times.
 
#88 ·
^^

I’m always fascinated by how differently we react to the same recording… Have to confess that I enjoy the Wyn Morris Tenth for its eccentricity, and the Dausgaard Tenth for its turbulent rollercoaster ride. :D

Having said that, I think the Dausgaard is a safe go-to choice, but the Wyn Morris probably is not. ;)
 
#89 ·
You should have been there some 46 years ago when the Morris came out. Up to that time, the only 10th we had was the wonderful Ormandy/Philadelphia. Morris, doing the revised version, was a godsend. Since then, as performers and conductors got more familiar with the work, performances have improved - for lack of a better word. It's almost a standard repertoire work nowadays. For that reason alone, the Morris will always have a special place in my library along with the Ormandy who introduced us all to it.
 
#90 · (Edited)
the Ormandy/PhilaOrch version is very good, and wonderfully played...Ormandy seemed really into it, and it's a fine effort...right about that same time, Jean Martinon conducted it in Chicago [rel. on CSO archival set <CSO- The First 200 Years>]...a thrilling performance that sounds like a different work...manic, even diabolical, high-strung...world of difference between Ormandy and Martinon, I wouldn't want to be without either
 
#91 ·
Trivia time.

It says "クック版第三稿" (Cooke version, third draft) on the Decca-Tower CD of the Wyn Morris Tenth.

"Third draft"? OK, without using my brain, when I was entering metadata for my rip, I entered Cooke III.

It only came to me two days later that it can't be Cooke III. It must be Cooke II instead. Silly me.

The Japanese notes are very clear that the "third draft" was completed in 1972, so this "third draft" must be Cooke II, not III.

Also, this recording was made in 1973, so again it must be Cooke II which Wyn Morris had also premiered the year before. Cooke III simply did not exist in 1973.

So why do the notes refer to Cooke II as the "third draft"?

The Japanese wikipedia page for Mahler 10, like the notes, also refers to the 1972 version as the "third draft"; and my guess is that, it is after all, chronologically the THIRD draft. (Cooke 0 is known as the "first draft" on Japanese wiki.)

Blimey! I should have known. Ha ha.

BTW Japanese wiki refers to Cooke III as "third draft, second edition". Now that's what I call descriptive! :lol:
 
#94 · (Edited)
Ok, I've bitten the proverbial bullet too, a la Kiki, and ordered a copy of the Wyn Morris Mahler 10, the Tower Records Limited Edition CD from Japan. £25!!!!! Ouch!!!!! According to the Tower website, it's taken from the original masters. So it should be better than the Scribendum issue, which is apparently fraught with problems?

I just hope I won't be stung for Import duties.
 
#95 ·
^

Congratulations! Hope you'll receive it soon!

Is it fair to say that the Wyn Morris have acquired a cult status despite its flaws? Also have to admire the passion of the Japanese for re-mastering it which IMO is very well done. (Curious to know if anyone has got HDTT's hi-res transfer. Is it good?)
 
#96 ·
Although unintentionally, today I listened to the Gamzou "completion" (officially a "realisation and elaboration of the unfinished drafts").

This is certainly not a bare-bone performing version. There is a lot of "composition" for sure. There are also a lot of extreme changes in dynamics and tempi. The performance also includes many idiomatic moments that heightens the drama. (Yep, the drama in the Tenth.) The recording is superb. It showcases the imaginative orchestration brilliantly; and it has a very wide dynamic range so while the opening of the Adagio is barely audible at normal listening volume, the climaxes will blow your socks off.

Once gotten over the fact that this is not (entirely) Mahler, I've found its "composition" quite fascinating in fact. But then the Tenth has never been entirely Mahler anyway.

On the down side, there are moments in the Adagio and the Finale where I find the "composition" a bit all over the place, lacking in cohesion.

But I do like the performance (although not so much the "completion"). I cannot help imagining, if Mr. Gamzou would give us a Cooke III recording, it could be an instant winner.
 
#97 ·
I have a goal of listening to the completed Mahler 10th in full by the end of the month (the 10th month of the year; I had a similar goal with the 9th symphony last month). I just remembered that I have the Rattle/Berlin. Bought it used a few months ago. I believe he uses the Derrick Cooke version...?
 
#99 ·
Kiki said:
Although unintentionally, today I listened to the Gamzou "completion" (officially a "realisation and elaboration of the unfinished drafts").
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Even if I still prefer the Dausgaard CD I own, I plan to purchase this recording one day. Only YouTube offers the complete recording and I always get it split between ads and kills the mood. I think the orchestral playing, and in lesser amount Gamzou's conducting, is way below the level of the bestiality that Gamzou created and which should be taken seriously by more and especially more experienced Mahler interpreters. This composition sounds much closer to the arresting climaxes of the 6th than the Second Vienesse School feeling that the 9th had and which certainly was the path Mahler was following as Cooke portrayed well in his performing version.

I hope that in the future Gamzou makes another recording with a much more professional orchestra to avoid the apparent playing mistakes and false notes of the live performance. He could keep revising the cmposition or let others record it. In any case, I'm still waiting the London Philharmonic to invite Yannick Nézet-Séguin another season to perform and record the Cooke III of the No.10.
 
#100 · (Edited)
My copy has arrived. I think it sounds great, some really fine remastering has gone on.:)

That said, I had to pay an extra £13 in import duties. Morris' recording may have attained cult status, I reckon those chaps at Customs and Excise are a bunch of cults as well.:mad:
 
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