Post by Slinger on May 25, 2023 16:46:27 GMT
Here's one for you julesd68 - a "different" Mahler 10. This one is orchestrated (and played on this recording) by Rudolf Barshai, as opposed to the usually heard Deryck Cooke version. There are others too.
Your mate, David Hurwitz, had this to say about it:
Your mate, David Hurwitz, had this to say about it:
...the main event here has to be Barshai’s own orchestration of the unfinished Tenth Symphony, heavily scored for a huge orchestra that doesn’t sound especially Mahlerian (at this stage in his career Mahler’s own scoring would have been much leaner and more economical), but nevertheless played to the hilt by Barshai and his remarkable youth ensemble.
The first movement, in particular, has the most hair-raisingly (sic) terrifying climax that anyone has ever achieved from this music. Part of the effect may derive from Barshai’s fuller instrumentation and bolder dynamics, and you can’t help but notice the date of this live performance: September 12, 2001. Whatever the reason, the entire reading has tremendous intensity and conviction, though as with all arrangers of this work, Barshai hasn’t quite solved the problem of the finale’s quick middle section and the return of the first-movement climax–nor perhaps (at this stage of composition) had Mahler. Also, despite enthusiastic and committed playing from the orchestra, the ensemble is a touch less steady than in the Fifth (nothing serious, just noted in comparison), and the sonics are a bit more opaque. Never mind: this is essential listening for Mahlerians and is self-recommending, particularly at the Brilliant Classics price.
The first movement, in particular, has the most hair-raisingly (sic) terrifying climax that anyone has ever achieved from this music. Part of the effect may derive from Barshai’s fuller instrumentation and bolder dynamics, and you can’t help but notice the date of this live performance: September 12, 2001. Whatever the reason, the entire reading has tremendous intensity and conviction, though as with all arrangers of this work, Barshai hasn’t quite solved the problem of the finale’s quick middle section and the return of the first-movement climax–nor perhaps (at this stage of composition) had Mahler. Also, despite enthusiastic and committed playing from the orchestra, the ensemble is a touch less steady than in the Fifth (nothing serious, just noted in comparison), and the sonics are a bit more opaque. Never mind: this is essential listening for Mahlerians and is self-recommending, particularly at the Brilliant Classics price.
