Notes and Editorial Reviews
Litton’s performance is powerful, and is powerfully effective.
In terms of the overall performances, Litton scores over his predecessor in orchestral execution and recorded sound...The density of Carpenter’s orchestration becomes abundantly clear in the first Scherzo. This often-rambunctious movement is awash with percussion. But the performance has an infectious swagger, invested with a dancing vitality... The fourth movement has much of the energy of the first Scherzo, but the tragic element is stronger. Carpenter’s dynamic levels are higher than the other versions, and this recording really thunders along (Mahler in full-blooded Technicolor is a nice change from some recent cookie-cutter Mahler performances). Litton
captures the anguish that erupts as the dance slowly disintegrates. The famous muffled drum at the end of the movement is heavy but not loud—and is very effective. The finale may be one of Mahler’s most poignant, and it is the movement in which Carpenter is the most active (or intrusive), as elements of the Seventh and Ninth Symphonies are interpolated. The great orchestral sigh that ends the movement is beautifully rendered, and the peace with which the Symphony ends is well earned. Litton’s performance is powerful, and is powerfully effective.
Fanfare Issue 26:5 (May/June 2003)
DSD (Direct Stream Digital) recording.
Works on This Recording
Symphony no 10 in F sharp minor/major by Gustav Mahler
Dallas Symphony Orchestra
Written: 1910; Austria
Date of Recording: 06/2001
Venue: McDermott Hall, Meyerson Center, Dallas
Length: 78 Minutes 45 Secs.
Notes: This selection was orchestrated and completed by Clinton A. Carpenter.
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