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Gustav Mahler:
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Gustav Mahler:
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| When Gustav Mahler died in
1911, his 10th Symphony was left unfinished. While the
orchestration was completed for the first movement, and
23 bars of the third movement, the remaining three
movements were sketched but unorchestrated. The entire
work remained untouched until 1924 when Mahler's wife
Alma asked 23 year old composer, Ernst Krenek to consider
completing the work. Krenek completed a clean copy of the
opening Adagio movement and a finalized orchestration of
the third movement, "Purgatory." Friends of
Mahler, including Bruno Walter, convinced Alma not to
permit the completion of the work, and for 30 years
Mahler's 10th Symphony remained untouched. The
two-movement score was performed in Vienna on October 12,
1924. In 1951 this two movement score was erroneously
published under the title "Mahler's 10th
Symphony." In recent times, there have been many attempts to create a full-length score. Since the original sketches were published, a number of composers became interested in the possibility of completing a full score. Mahler authority Jack Deither presented both Schoenberg, then Shostakovich with the task of recreating a fully orchestrated version of the 10th. Both composers refused the opportunity after reviewing Mahler's sketches. Deither finally convinced British scholar Kenneth Wheeler to work on the project in 1953. Wheeler's score has yet to be released on recording. Ironically, in the early fifties, both Hans Wollschlage in Germany and Clinton Carpenter in America began working independently on their own version of a complete score. Unaware that Wheeler, Wollschlage, and Carpenter were all working on their version of 10th, English musicologist Deryck Cooke also attempted to produce a score. With the help of composer and conductor Berthold Goldschmidt, Cooke developed a nearly complete score that was first performed under the direction of Goldschmidt by the Philharmonia Orchestra for the BBC on December 19, 1960. When Alma heard of this, she encouraged Cooke to complete his efforts. After this performance, Cooke was determined to complete a full score, and on August 13, 1964 Goldschmidt once again premiered Cooke's newly revised version with the London Symphony Orchestra. Cooke again revised the score, and released a final version in 1966. In 1983, 26 year old American, Remo Mazzetti, Jr. attempted his version. Having analyzed all the previous versions, he felt none of them consistently captured a true Mahlerian sound. Mazzetti contacted Clinton Carpenter and discussed his final version, which received its world premier in April of 1983. Mazzetti worked with Carpenter to prepare a New York premier of the work. When Carpenter rejected Mazzetti's changes, Mazzetti decided he would undertake the task of preparing his own version. In 52 days, Mazzetti completed a pencil score. After many revisions it finally saw a fully orchestrated premier in 1989. Only now has the Clinton Carpenter version of Mahler's 10th been released. Through Golden String Records, the 10th finds Carpenter's realization of the score masterfully performed by the Philharmonia Hungarica, under the direction of Harold Farberman. The 10th was written under the worst of circumstances. Suffering from what Mahler knew was a fatal heart ailment, in 1908 he began working on his 10th Symphony. Learning of his impending death, he began work on three final symphonies he called his "Farewell" symphonies. These consisted of Das Lied von der Erde, Symphony #9, and Symphony #10. It is commonly accepted that the 9th Symphony was Mahler's final symphony. This is not completely true. He was always suspicious of a 9th Symphony, fearing it would result in his death. History contains the death of Schubert, Beethoven, and Bruckner following their 9th Symphony. As a result, following Mahler's 8th symphony he composed Das Lied von der Erde, which was to be his 9th, eliminating Mahler's suspicious fear. With the premier of his 9th symphony, he actually completed his 10th, although the formal name was not labeled as such. As Mahler stated to his wife, Alma, "Actually, of course, it's the 10th, because Das Lied von der Erde was really the 9th." History has not often reflected the truth behind Mahler's 10th, that it really is his 11th. When Mahler began work on the 10th, he initially considered casting the symphony in two movements; an adagio, and a scherzo-finale. Mahler later structured the 10th similar to the 9th, with lengthy slow movements bracketing the beginning and end of the work. Structurally, it is opposite of the seventh. Rather than containing a center scherzo, two serenades, and two allegros on the outer movements, the 10th contains and intermezzo in-between two scherzos. The knowledge of his death was not the only tragedy consuming Mahler. In his final years he learned Alma had an affair with another man, virtually breaking Mahler's heart. The opening Adagio is lovingly dedicated to his wife. When he learned of her affair with the architect Gropius, struck with pain, he scrawled on the score, "Death - to perish!", "My God, My God, why hast Thou forsaken me!", and finally "Thy will be done." There is no mistaking, the 10th represents a symphony riddled with emotion, pain, anguish, and the intense feelings of love for Alma, which can clearly be heard in the opening Adagio. But, even within this opening movement of beauty, one can hear the tragic cries of a composer in pain. The dissonant angry chords accompanied by searing, high pitched strings that finally relinquish to the original beauty that begins the 24 minute movement. Clinton Carpenter's version represents one of many attempts to complete what Mahler began. Through Mahler's sketches, we can gather a basic understanding of what Mahler intended for the 10th. When developing a final score, many times it's not so much what notes an orchestrator decides should be in the composition, but what instruments to assign the notes. This is where many different versions of the 10th differ. Dynamics are also an important consideration. This performance of the 10th contains a unique use of dynamics compared to previous versions; very robust and predominant, yet sensitive and tempered where necessary. Slatkin's recording of Mezzitti's score is far more delicate throughout, except for the funeral drum that begins the finale. Deryck Cooke's version is far more conservative, staying as close as possible to what Mahler originally sketched for the symphony. Any new version of the 10th is of historic significance. Although we will never know what the final results would have been, it is always interesting to attempt to recreate what could have been. Mahler left us with one full movement complete, and another partially complete. With decent sketches of the remainder of the work, it's open to interpretation. The Clinton Carpenter version is very well performed and recorded. Harold Farberman obviously has taken great thought and care working with the Philharmonia Hungarica. This release represents an important addition to the ever-growing number of 10th symphonies available. Is this the most authentic version of Mahler's 10th? Take a listen and decide for yourself. |
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