Notes and Editorial Reviews
Remo Mazzeti Jr. is in the enviable position of having had both of his realizations of Mahler's Tenth Symphony performed and recorded soon after they were completed, even though Joe Wheeler's edition, which has been around for decades, has yet to receive a professional recording--though Naxos has one forthcoming. (Mazzeti was inspired to revise his score while assisting Wheeler in preparing the latter's edition for performance.) Even though marred by an overwrought contrapuntal style (sounding more like Berio than Mahler) and relentless percussion writing (including bass drum rolls that appear with the frequency of New York City subway trains) Mazzeti's first version (1989) was compelling because it filled out many of the textures that
Cooke left bare. His new edition represents a more mature conception, closer to the way Mahler composed in his last years. There is still hectic counterpoint, but it is less self-aggrandizing and more skillfully composed. Gone is the phalanx of noise that began the second scherzo, now replaced with darker, more sinister sounds that better represent the composer.
But it's Scherzo No. 1 and the finale that most benefit from Mazzeti's treatment--here his choice of instrumentation rings true, even if some of it sounds strange after years of listening to Cooke. But we must remember that much of Cooke's version is itself only an educated guess as to Mahler's final intentions, and cannot be viewed as a standard. Mazzeti's achievement is remarkable for the consistent clarity of line amid whirlwind counterpoint that was a hallmark of Mahler's craft. There are moments where I had that special sensation of listening to a Mahler symphony for the first time. While many Mahlerians had understandable misgivings about Mazzeti's first attempt, they owe it to themselves to audition this far superior effort.
Superior too is Lopez-Cobos' performance with the Cincinnati Symphony, who sound far more at ease with the score than Leonard Slatkin and his Saint Louis band. (Lopez-Cobos' reading of the Adagio, at 22 minutes, is one of the most flowing and cogent ever.) The Telarc recording has such a wide dynamic range that you need an absolutely silent listening area for the soft passages to register. But don't crank the volume too much, or the tuttis will blow you away.
--Victor Carr, ClassicsToday.com Read less
Works on This Recording
Symphony no 10 in F sharp minor/major by Gustav Mahler
Cincinnati Symphony Orchestra
Written: 1910; Austria
Date of Recording: 02/2000
Venue: Music Hall, Cincinnati, Ohio
Length: 73 Minutes 10 Secs.
Notes: The performing edition of this unfinished Mahler symphony was prepared
Remo Mazzetti, Jr. in 1997.
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