{"title":"Mahler: Symphony No. 10 in F-sharp Major","description":null,"products":[{"product_id":"mahler-adagio-from-symphony-no-10-arr-for-piano-4-hands-universal","title":"Mahler: Adagio from Symphony No. 10 (arr. for piano 4-hands)","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/gustav-mahler\"\u003eGustav Mahler (1860-1911)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong\u003eInstrumentation (this edition)\u003c\/strong\u003e: \u003cspan class=\"edition-instrumentation\"\u003ePiano 4-Hands\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong class=\"original-instrumentation-title\"\u003eOriginally for\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrchestra\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/mahler-symphony-no-10-in-f-sharp-major\"\u003eSymphony No. 10 in F-sharp Major\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790008070402\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.1\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.0\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ca href=\"https:\/\/app.universaledition.com\/resources\/musterseiten\/ue13879.pdf\" class=\"global-button global-button--text\" target=\"_blank\"\u003e \u003csvg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"16\" height=\"16\" fill=\"currentColor\" class=\"bi bi-file-pdf\" viewbox=\"0 0 16 16\"\u003e\u003cpath d=\"M4 0a2 2 0 0 0-2 2v12a2 2 0 0 0 2 2h8a2 2 0 0 0 2-2V2a2 2 0 0 0-2-2H4zm0 1h8a1 1 0 0 1 1 1v12a1 1 0 0 1-1 1H4a1 1 0 0 1-1-1V2a1 1 0 0 1 1-1z\"\u003e\u003c\/path\u003e\u003cpath d=\"M4.603 12.087a.81.81 0 0 1-.438-.42c-.195-.388-.13-.776.08-1.102.198-.307.526-.568.897-.787a7.68 7.68 0 0 1 1.482-.645 19.701 19.701 0 0 0 1.062-2.227 7.269 7.269 0 0 1-.43-1.295c-.086-.4-.119-.796-.046-1.136.075-.354.274-.672.65-.823.192-.077.4-.12.602-.077a.7.7 0 0 1 .477.365c.088.164.12.356.127.538.007.187-.012.395-.047.614-.084.51-.27 1.134-.52 1.794a10.954 10.954 0 0 0 .98 1.686 5.753 5.753 0 0 1 1.334.05c.364.065.734.195.96.465.12.144.193.32.2.518.007.192-.047.382-.138.563a1.04 1.04 0 0 1-.354.416.856.856 0 0 1-.51.138c-.331-.014-.654-.196-.933-.417a5.716 5.716 0 0 1-.911-.95 11.642 11.642 0 0 0-1.997.406 11.311 11.311 0 0 1-1.021 1.51c-.29.35-.608.655-.926.787a.793.793 0 0 1-.58.029zm1.379-1.901c-.166.076-.32.156-.459.238-.328.194-.541.383-.647.547-.094.145-.096.25-.04.361.01.022.02.036.026.044a.27.27 0 0 0 .035-.012c.137-.056.355-.235.635-.572a8.18 8.18 0 0 0 .45-.606zm1.64-1.33a12.647 12.647 0 0 1 1.01-.193 11.666 11.666 0 0 1-.51-.858 20.741 20.741 0 0 1-.5 1.05zm2.446.45c.15.162.296.3.435.41.24.19.407.253.498.256a.107.107 0 0 0 .07-.015.307.307 0 0 0 .094-.125.436.436 0 0 0 .059-.2.095.095 0 0 0-.026-.063c-.052-.062-.2-.152-.518-.209a3.881 3.881 0 0 0-.612-.053zM8.078 5.8a6.7 6.7 0 0 0 .2-.828c.031-.188.043-.343.038-.465a.613.613 0 0 0-.032-.198.517.517 0 0 0-.145.04c-.087.035-.158.106-.196.283-.04.192-.03.469.046.822.024.111.054.227.09.346z\"\u003e\u003c\/path\u003e\u003c\/svg\u003e PDF Preview \u003c\/a\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"Universal Edition","offers":[{"title":"Default Title","offer_id":40127816433743,"sku":"UE13879","price":29.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/89ac6d2696b5cf23a69ff5b007b6edb3.jpg?v=1750594990"},{"product_id":"mahler-adagio-from-the-symphony-no-10-universal","title":"Mahler: Adagio from the Symphony No. 10","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/gustav-mahler\"\u003eGustav Mahler (1860-1911)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/mahler-symphony-no-10-in-f-sharp-major\"\u003eSymphony No. 10 in F-sharp Major\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790008024375\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.2\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e10.8\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003cli\u003e\u003cstrong\u003eUrtext \/ Critical Edition\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"Universal Edition","offers":[{"title":"Full Score – Paperback","offer_id":40137319841871,"sku":"UE13880","price":54.95,"currency_code":"USD","in_stock":true},{"title":"Study Score","offer_id":40574450073679,"sku":"UE34320","price":40.95,"currency_code":"USD","in_stock":true},{"title":"Full Score – Hardcover","offer_id":40574305173583,"sku":"UE34713","price":173.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/af2cf81c727ecb5b298a1d96b0bb76b8.jpg?v=1751113598"},{"product_id":"mahler-symphony-no-10-universal","title":"Mahler: Symphony No. 10","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/gustav-mahler\"\u003eGustav Mahler (1860-1911)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: Rudolf Barshai\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Study Score\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/mahler-symphony-no-10-in-f-sharp-major\"\u003eSymphony No. 10 in F-sharp Major\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISMN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9790008076411\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e6.7\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e9.4\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages hidden\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: None\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003e\u003cstrong\u003eBernd Feuchtner\u003cbr\u003e\nA New Image of Mahler\u003cbr\u003e\nWhat the Tenth Symphony has gained from Rudolf Barshai\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe reason why Mahler's \u003cem\u003eTenth\u003c\/em\u003e appears so seldom in concert programmes is because the composer was unable to complete it – of the five movements, three exist only in the form of sketches and a structural framework. To be sure, these were very commendably deciphered and edited by Deryck Cooke in the 1960s, so that performances of the symphony with full orchestra can take place. Nevertheless these have always left behind a certain feeling of unease, on account of the dissatisfying overall impression. The sound lacked body and weight, the overall form lacked plasticity.\u003c\/p\u003e\n\u003cp\u003eThe musical material shows that the \u003cem\u003eTenth\u003c\/em\u003e represented a further step forward for Mahler. in the first Scherzo he breaks free of rhythmic limitations in the manner of Stravinsky or Berg, as he playfully turns folk-like materials into the music of the future. Like Berg's \u003cem\u003eWozzeck\u003c\/em\u003e , too, the symphony is conceived as an arch structure. Two great Adagios in sonata form enclose two vehement scherzos, separated from one another by the fulcral point of the brief Purgatorio.\u003c\/p\u003e\n\u003cp\u003eAnd from here onwards, without a doubt, the Second Viennese School can be glimpsed in the near distance. Mahler is here so far advanced that, as with his followers, one can no longer say whether a second or a seventh is a dissonance. This is why one should avoid any deviation from Mahler's sketches. When deciphering his difficult handwriting, there is a temptation to smooth out harmonies which would be better left rough. But it is only when the harmony remains ambiguous that certain passages begin to sound truly diabolical. and in this symphony it certainly is a question of the devil – he now manifests himself in his full monstrousness. \u003cstrong\u003eRudolf Barshai\u003c\/strong\u003e conducted the \u003cem\u003eTenth\u003c\/em\u003e with the Austrian Radio Orchestra at the end of the 1980s, in Vienna and Montpellier, but soon discovered that the dissatisfaction he felt could not be dispelled by a few corrections here and there. Changing details was pointless: he had to make his own revision. The Cooke version remains the ground plan and preparatory work, but the Barshai version has given the \u003cem\u003eTenth\u003c\/em\u003e a new shape which comes a step closer to Mahler's intentions.\u003c\/p\u003e\n\u003cp\u003eMahler's annotations in the sketches of the \u003cem\u003eTenth\u003c\/em\u003e are of a personal, indeed intimate nature. Much more important – because referring to music – are quotations of a musical nature, or a citation from Bach. Like some of Mahler's other symphonic movements the Purgatorio – which he had already completed – is derived from a song, in this case \u003cem\u003eDas irdische Leben.\u003c\/em\u003e This had been a parable of the ‘way of the world' – in which human needs are not satisfied, but postponed systematically. in the \u003cem\u003eSymphony\u003c\/em\u003e it is placed at the service of higher thoughts. The symphonic presentation of these grand thoughts demands the rich, full-bodied Mahler orchestra with its sonority dominated by the strings, not sketchy lines. Several passages in the first movement sound empty because they are incomplete, and here it is possible to conceive of several different ways of completing them: we can see traces of attempts at improvement in Mahler's own hand. for example, the last semiquaver of bar 101 gives rise to parallel octaves, strictly forbidden by the laws of harmony and here caused by Mahler's overwrought mental state. Cooke did not correct this passage, an omission which to a certain degree brings dishonour on a great composition. It is one of the main advantages of Barshai's revision that it does not shirk such questions. Moreover he makes extensive use of such typical Mahler fingerprints as the confrontation of fortissimo and pianissimo in different instrumental groups at the same time – e.g. at the climax of the Adagio in the \u003cem\u003eNinth,\u003c\/em\u003e where the strings deploy their full power while the wind double the melodic line pianissimo. This Mahlerian invention leads to fantastic effects and naturally had to be used in the \u003cem\u003eTenth\u003c\/em\u003e as well. A similar effect thus occurs at bar 153, where the oboe plays piano espressivo and the second violin pp ohne Ausdruck (‘without expression'), giving rise to a decisive difference in timbre.\u003c\/p\u003e\n\u003cp\u003eIn the second movement Rudolf Barshai exploits above all else Mahler's innovations in the treatment of percussion. The last four bars in particular demonstrate unusually rich percussion scoring. At the beginning of the fourth movement, however, and throughout this movement in general, quite different principles of instrumentation apply, as they do in the fifth movement. These movements should provide fertile soil for musicological research. There is certainly a relationship between the second Scherzo and the mockery of ‘this putrid plaything of an earth' in the first movement of \u003cem\u003eDas Lied von der Erde,\u003c\/em\u003e but the Scherzo goes much farther. Mahler's annotations here (‘the devil dances with me') really are intended programmatically. The devil even plays the dandy, the better to play the seducer. This must be made to sound truly sensual.\u003c\/p\u003e\n\u003cp\u003eCooke's intention was to make the sketches audible; Barshai's reworking attempts to exploit the full sound of the Mahler orchestra, which in this version sounds as wholeheartedly involved as in Mahler's other symphonies. in Cooke's version of the second Scherzo, for example, Mahler's prominent bass line with the movement's principal rhythmic idea at bar 157ff is entrusted only to a solo trombone marked forte, which sounds rather grotesque. Moreover the shortening of the note values creates a scherzoso feel. in Barshai's view, however, this theme gives an decisive thrust of energy towards the movement's climax, and is thus allocated to all bass instruments and bass trombone, playing markig (‘energico') and in Mahler's original note lengths.\u003c\/p\u003e\n\u003cp\u003eThe finale contains several passages which are particularly hard to decipher. in this tonally free context Mahler was not always wholly consistent in his use of accidental signs. Here the editor's task was both to make the motifs recognisable and to avoid harmonic triteness: only then does the sense become clear. Between bars 53-55 in Cooke's version the harmony becomes extremely trite, because as a result of one unclear note he more or less criminally perverted the harmony into in E-flat Minor, thereby transgressing against Mahler's philosophy on the most fundamental level. What confused Cooke was the fact that in bar 54 the melody of the upper strings contains a G-flat, conflicting harshly with the G natural of the E-flat Major in the first and second parts – a great, elemental harmonic conflict which gives rise to a painful dissonance. But when it comes to Mahler, textbook harmony proves inadequate. \u003c\/p\u003e\n\u003cp\u003eAdditionally, in Cooke's version this passage produces a melancholy effect – an attitude which is so utterly incompatible with Mahler's philosophy. But there is also, in the fifth voice here, another note which is unclear in Mahler's manuscript, which could be read as C-flat. Barshai however inclines towards reading it as D-flat, which creates a significant transformation of the mood of the whole passage, indeed brings it to life. Now we find ourselves in A-flat Major, and specifically on the dominant seventh chord of this key – already on the path of harmonic tension leading to F-sharp Major, which soon arrives with a compelling sense of inevitability. Thus if one does not take Mahler seriously here, then there emerges either that kind of sugary sentimentality which was alien to him, or instead a kind of hopelessness which accords equally little with what we know of or about him. An equally significant difference can be found at bar 155. in bar 390 a serious error escaped Cooke's notice, when he requires basses and contrabassoon to play E-sharp rather than E natural, thereby regrettably eliminating a harsh dissonance.\u003c\/p\u003e\n\u003cp\u003eThe end of the symphony should at no cost sound bittersweet – rather, it alternates between bitterness and repose. Mahler does not abandon all doubt, and for that reason the music must hurt in places. Eleven bars before the end Cooke read a bass note as F-sharp, which however read as E-sharp acquires an added bite. As an unprepared suspension it sets up a powerful tension which is not resolved until the magical close. The melody which follows is also placed in a new light. Barshai hears this as a quotation from Schubert and thus gives it to the trombones to be played with solemn devotion. Then, after two, rather hesitant, bass clarinets there erupts a great explosion like an earthquake, followed by a diminuendo before the eternal rest of F-sharp Major. The noted Mahler expert Jonathan Carr found himself particularly impressed by the unexpected tension which the last twenty minutes of the score gain thanks to Barshai's revision.\u003c\/p\u003e\n\u003cp\u003eSuch refinements, which of course critically determine the overall musical form, could only have become first apparent to a musician like Rudolf Barshai, who has devoted his life to the interpretation of the great European symphonic tradition and lived with Mahler's music for several years.\u003c\/p\u003e\n\u003cp\u003eBernd Feuchtner\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Universal Edition","offers":[{"title":"Default Title","offer_id":40461712883791,"sku":"UE31504","price":176.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/356816387ff51008a68f42f863468cf1.jpg?v=1751467849"},{"product_id":"shostakovichs-arrangements-of-stravinsky-mahler-honegger-dsch","title":"Shostakovich's Arrangements of 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href=\"https:\/\/shostakovich.ru\/media\/5616\/pages_114.pdf\" class=\"global-button global-button--text\" target=\"_blank\"\u003e \u003csvg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"16\" height=\"16\" fill=\"currentColor\" class=\"bi bi-file-pdf\" viewbox=\"0 0 16 16\"\u003e\u003cpath d=\"M4 0a2 2 0 0 0-2 2v12a2 2 0 0 0 2 2h8a2 2 0 0 0 2-2V2a2 2 0 0 0-2-2H4zm0 1h8a1 1 0 0 1 1 1v12a1 1 0 0 1-1 1H4a1 1 0 0 1-1-1V2a1 1 0 0 1 1-1z\"\u003e\u003c\/path\u003e\u003cpath d=\"M4.603 12.087a.81.81 0 0 1-.438-.42c-.195-.388-.13-.776.08-1.102.198-.307.526-.568.897-.787a7.68 7.68 0 0 1 1.482-.645 19.701 19.701 0 0 0 1.062-2.227 7.269 7.269 0 0 1-.43-1.295c-.086-.4-.119-.796-.046-1.136.075-.354.274-.672.65-.823.192-.077.4-.12.602-.077a.7.7 0 0 1 .477.365c.088.164.12.356.127.538.007.187-.012.395-.047.614-.084.51-.27 1.134-.52 1.794a10.954 10.954 0 0 0 .98 1.686 5.753 5.753 0 0 1 1.334.05c.364.065.734.195.96.465.12.144.193.32.2.518.007.192-.047.382-.138.563a1.04 1.04 0 0 1-.354.416.856.856 0 0 1-.51.138c-.331-.014-.654-.196-.933-.417a5.716 5.716 0 0 1-.911-.95 11.642 11.642 0 0 0-1.997.406 11.311 11.311 0 0 1-1.021 1.51c-.29.35-.608.655-.926.787a.793.793 0 0 1-.58.029zm1.379-1.901c-.166.076-.32.156-.459.238-.328.194-.541.383-.647.547-.094.145-.096.25-.04.361.01.022.02.036.026.044a.27.27 0 0 0 .035-.012c.137-.056.355-.235.635-.572a8.18 8.18 0 0 0 .45-.606zm1.64-1.33a12.647 12.647 0 0 1 1.01-.193 11.666 11.666 0 0 1-.51-.858 20.741 20.741 0 0 1-.5 1.05zm2.446.45c.15.162.296.3.435.41.24.19.407.253.498.256a.107.107 0 0 0 .07-.015.307.307 0 0 0 .094-.125.436.436 0 0 0 .059-.2.095.095 0 0 0-.026-.063c-.052-.062-.2-.152-.518-.209a3.881 3.881 0 0 0-.612-.053zM8.078 5.8a6.7 6.7 0 0 0 .2-.828c.031-.188.043-.343.038-.465a.613.613 0 0 0-.032-.198.517.517 0 0 0-.145.04c-.087.035-.158.106-.196.283-.04.192-.03.469.046.822.024.111.054.227.09.346z\"\u003e\u003c\/path\u003e\u003c\/svg\u003e PDF Preview \u003c\/a\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eVolume 114:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eIgor Stravinsky, \u003cem\u003eSymphony of Psalms\u003c\/em\u003e (Includes chorus)\u003c\/li\u003e\n\u003cli\u003eGustav Mahler, \u003cem\u003eTenth Symphony (Fragment)\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eBoth arranged for Piano Four Hands by Dmitri Shostakovich\u003c\/p\u003e\n\u003cp\u003eVolume 115:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eArthur Honegger, \u003cem\u003eThird Symphony (\"Liturgical\")\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eArranged for Two Pianos by Dmitri Shostakovich. (In score form; two copies are needed for performance)\u003c\/p\u003e \u003c\/div\u003e \u003cp\u003eWorks:\u003c\/p\u003e \u003cul\u003e\n\u003cli\u003e\u003ca href=\"\/ja\/collections\/mahler-symphony-no-10-in-f-sharp-major\"\u003eMahler: Symphony No. 10 in F-sharp Major\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/ja\/collections\/stravinsky-symphony-of-psalms-1930\"\u003eStravinsky: Symphony of Psalms (1930)\u003c\/a\u003e\u003c\/li\u003e\n\u003cli\u003e\u003ca href=\"\/ja\/collections\/honegger-symphony-no-3-symphonie-liturgique-h-186\"\u003eHonegger: Symphony No. 3 (\"Symphonie liturgique\"), H 186\u003c\/a\u003e\u003c\/li\u003e\n\u003c\/ul\u003e \u003c\/div\u003e","brand":"DSCH","offers":[{"title":"Default Title","offer_id":40555577278543,"sku":"NCW114\/115","price":119.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/7e73b60f69ca24e8528390cb86bf7eeb.jpg?v=1753184533"},{"product_id":"mahler-symphony-no-10-in-f-sharp-major-faber","title":"Mahler: Symphony No. 10 in F-sharp Major","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/gustav-mahler\"\u003eGustav Mahler (1860-1911)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eEditor\u003c\/strong\u003e: Deryck Cooke\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Full Score\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/mahler-symphony-no-10-in-f-sharp-major\"\u003eSymphony No. 10 in F-sharp Major\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eISBN\u003c\/strong\u003e: \u003cspan class=\"book-barcode\"\u003e9780571510948\u003c\/span\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e9.3\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e12.2\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 246\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003c\/div\u003e","brand":"Faber","offers":[{"title":"Default Title","offer_id":40737256505423,"sku":"0571510949","price":106.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0900\/1828\/files\/27ec3bfdbf862938e60fd20afe38ae0e.jpg?v=1780266660"},{"product_id":"mahler-symphony-no-10-universal-1","title":"Mahler: Symphony No. 10","description":"\u003cul\u003e \u003cli\u003e\n\u003cstrong\u003eComposer\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/gustav-mahler\"\u003eGustav Mahler (1860-1911)\u003c\/a\u003e\n\u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eFormat\u003c\/strong\u003e: Study Score\u003c\/li\u003e \u003cli\u003e \u003cstrong class=\"original-instrumentation-title\"\u003eInstrumentation\u003c\/strong\u003e: \u003cspan class=\"original-instrumentation\"\u003eOrchestra\u003c\/span\u003e \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eWork\u003c\/strong\u003e: \u003ca href=\"\/ja\/collections\/mahler-symphony-no-10-in-f-sharp-major\"\u003eSymphony No. 10 in F-sharp Major\u003c\/a\u003e\n\u003c\/li\u003e \u003cli class=\"binding hidden\"\u003e\n\u003cstrong\u003eBinding\u003c\/strong\u003e: \u003c\/li\u003e \u003cli\u003e\n\u003cstrong\u003eSize\u003c\/strong\u003e: \u003cspan class=\"book-width\"\u003e8.3\u003c\/span\u003e x \u003cspan class=\"book-length\"\u003e11.7\u003c\/span\u003e inches\u003c\/li\u003e \u003cli class=\"book-pages\"\u003e\n\u003cstrong\u003ePages\u003c\/strong\u003e: 290\u003c\/li\u003e \u003c\/ul\u003e \u003cdiv class=\"row\"\u003e \u003c\/div\u003e \u003c!-- split --\u003e\n\u003cdiv class=\"row\"\u003e \u003cdiv class=\"one-half columns\"\u003e \u003ch4\u003eDescription\u003c\/h4\u003e \u003cdiv class=\"feature_divider\"\u003e\u003c\/div\u003e \u003cp\u003eThe re-creation of Mahler's \u003cem\u003eTenth Symphony\u003c\/em\u003e through a new performing edition made in the contemporaneous tradition of the Verein for Musikalische Privataufführungen as established at the beginning of the 20th century.\u003c\/p\u003e\n\u003cp\u003e‘It should be one‘s sole endeavour to see everything afresh and create it anew.'\u003cstrong\u003e1\u003c\/strong\u003e Gustav Mahler\u003c\/p\u003e\n\u003cp\u003ePossibly one of Mahler's most passionate emotional outbursts and autobiographical creations, Mahler's \u003cem\u003eSymphony No. 10\u003c\/em\u003e is a fascinating journey, not only for performance aspects, but also for musicological and analytical ones, providing a deep psychological pathway into the genius that was Mahler – a mesmerising voyage for the composer, performer and conductor.\u003c\/p\u003e\n\u003cp\u003eThe issue of re-orchestration has been a long-discussed debate amongst music scholars and performing musicians. My work relates to, and complements, existing musicological studies, as well as several reconstructions for full orchestra that have been made of Mahler's last symphony.\u003c\/p\u003e\n\u003cp\u003eAlthough there are many versions, I focussed my investigation on the following: Derek Cooke (in collaboration with Berthold Goldschmidt, Colin Matthews and David Matthews); Rudolf Barshai; Alexander von Zemlinsky's completion of movements 1 [\u0026amp;] 3 (with Alban Berg, Ernst Krenek and Franz Schalk); Clinton Carpenter; Remo Mazzetti and Joseph Wheeler.\u003c\/p\u003e\n\u003cp\u003eWhile the basic material remains intact, there are very significant differences in each of these orchestrations. Deryck Cooke's version is arguably the most ‘faithful' one, primarily representing Mahler's own notes, to make the symphony performable. The edited score also contains a copy of most of Mahler's annotations and sketches, together with the corresponding short-score in smaller print on every page, where it exists; and thus, I found this version particularly helpful, especially with regard to thematic continuity.\u003c\/p\u003e\n\u003cp\u003eMy intention was to re-create this symphony for chamber orchestra, retaining the authenticity found in the Mahler manuscripts, combining it with the fuller orchestral palette achieved by Rudolph Barshai, rather than the thinner textures realised in the Cooke version. This approach allowed for the various contrapuntal and timbral lines and colours to form one coherent structure, imbued within Mahler's voice. Whether fully orchestrated in specific passages, or a sole melody in others, there is one continuous line throughout the surviving manuscript pages.\u003c\/p\u003e\n\u003cp\u003eThe original manuscripts were published in two separate facsimiles (Paul Zsolnay Verlag, 1924: 116 pages) and a more complete version in 1967 (160 pages) published by Walter Ricke under the aegis of the International Mahler Society, edited by Erwin Ratz.\u003cstrong\u003e2\u003c\/strong\u003e This edition included the Adagio and the Scherzo in full draft score, short score and sketch (with completion of varying degrees), 30 bars of full score of the Purgatorio, together with a short score and sketch; and short scores and sketches for the final two movements. Other pages were published in the 1976 score of the performing version by Deryck Cooke.\u003c\/p\u003e\n\u003cp\u003eThrough the collection of various facsimiles and scores of previous symphonies, I became very familiar with Mahler's calligraphy, modus operandi, level of detail, instruction and intention. I also acquired the extant sketches of his ‘unfinished' symphony, including the orchestral draft, the preliminary short score, Ricke's and Zsolnay's facsimiles of Mahler's manuscript, a separate, solitary sketch-page, the surviving short score by Mahler, and, thanks to the National Library of Austria in Vienna, all existing Mahler's sketches (including previously ‘lost' pages) found at the Österreichische Nationalbibliothek.\u003c\/p\u003e\n\u003cp\u003eThis new performing edition for chamber forces is scored for single woodwind (with flute doubling piccolo), horn, trumpet, percussion, harp, piano\/harmonium and single strings. The score gives ossia lines for double-bass, for the option of the C-string extension. It also gives the option of ossia lines for the timpani, just in case the 32' one is not available.\u003c\/p\u003e\n\u003cp\u003eThe harmonium of choice is the Mustel 1902 Harmonium, with two manuals and with 4', 8' 16' and 32' stops. This is contemporaneous with the period, as used in Erwin Stein's chamber orchestra version of Mahler‘s \u003cem\u003eSymphony No. 4\u003c\/em\u003e and Schoenberg's chamber orchestra version of Mahler's \u003cem\u003eDas Lied von der Erde\u003c\/em\u003e. Specifically, this instrument is a double manual, with the full complement of expressive devices on a harmonium with 20 stops, and a 5-octave range.\u003c\/p\u003e\n\u003cp\u003eThe percussion instruments called for are the following: Timpani (a set of 5 would allow the solo at the end of Movement IV to be played with ease), 2 Cymbals (suspended: large, small\u003cem\u003e), 2 Triangles (large, small\u003c\/em\u003e), Glockenspiel, Xylophone, Tam-Tam, Bass Drum, Snare Drum, Tambourine, Whip\/Slapstick, Finger cymbals*, Military Drum and Ratchet. The instruments marked with an asterisk are those played by the pianist, in part.\u003c\/p\u003e\n\u003cp\u003eColour and instrumentation, including Mahler's use of unusual percussion instruments in symphonic literature to date; his use of con legno, mutes, gestopft and portamento; the culture of vibrato around the fin-de-siècle period; weight, balance, register, texture, and dynamic proportions\u003cstrong\u003e3\u003c\/strong\u003e, had to be meticulously analysed.\u003c\/p\u003e\n\u003cp\u003eThe architecture and over-arching form and shape of the symphony, as well as the complexity of emotion this work carries, helped inform my interpretation. These fundamental factors also influenced the reconstruction and orchestration, and, perhaps above all, what I believe Mahler was attempting to say through this music, which is, in my opinion, overwhelmingly autobiographical, excitingly bipolar and plainly futuristic.\u003c\/p\u003e\n\u003cp\u003eI have taken the decision that this edition will be treated as a performing score. There are no dotted lines, square brackets, small notes – in fact, no editorial markings whatsoever. The doctoral thesis upon which this score is based\u003cstrong\u003e4\u003c\/strong\u003e contains all the explanations, footnotes, annotations etc. The fact that this score is already not what Mahler intended instrumentation-wise, would make the exercise of distinguishing between what was in the score and what not, almost futile, and impossible to read. This work is being published to be performed as a version for chamber orchestra.\u003c\/p\u003e\n\u003cp\u003eIn her forward to the 1924 facsimile edition of the \u003cem\u003eSymphony No. 10\u003c\/em\u003e , Alma Mahler wrote:\u003c\/p\u003e\n\u003cp\u003e‘While I initially considered it my absolute right to keep the treasure of the Tenth Symphony hidden, I now know it is my duty to reveal to the world the last thoughts of the master. […] It proclaims not only the last music of the master, but it shows in the impassioned strokes of his handwriting, the enigmatic self-image of the person with perpetuating effect. Some will read in these pages as if in a book of magic, while others will find themselves faced with magic symbols to which they lack the key; none will escape the power which continues to emanate from this handwritten music and scribbled verbal ecstasies.'5 There is endless debate about the ‘ethical' issues which surround this.\u003c\/p\u003e\n\u003cp\u003eDo we have the right to do this? However, when one knows that this was being done at the time through the Verein itself, and adds to that, the admiration Schoenberg himself had for Mahler, as well as how Mahler encouraged the ‘creating anew', I think that while such discussion is legitimate, there is enough evidence to support this endeavor. One need only turn to works like Mozart's \u003cem\u003eRequiem\u003c\/em\u003e , Elgar's \u003cem\u003eSymphony No. 3\u003c\/em\u003e , Bruckner's \u003cem\u003eSymphony No. 9\u003c\/em\u003e , Puccini's \u003cem\u003eTurandot\u003c\/em\u003e or even Mahler's own completion of Carl Maria von Weber's \u003cem\u003eDie drei Pintos\u003c\/em\u003e ; as well as the very many works arranged for chamber version by the society itself, which gave 353 performances of 154 works in a total of 117 concerts, during its existence.\u003c\/p\u003e\n\u003cp\u003eEven Sir Georg Solti, who never claimed to be a composer, wanted to attempt reconstructing Mahler's \u003cem\u003eSymphony No. 10\u003c\/em\u003e. Sadly, this was never to be, as Solti passed away in the summer of 1997.\u003c\/p\u003e\n\u003cp\u003e‘My performances of the opening movement of the Tenth Symphony made me want to attempt to conduct a reconstructed version of the whole work. [...] The melodic invention [...] is heartbreakingly beautiful. [...] The English musicologist Deryck Cooke made the first reconstruction of the symphony, but I have not used it as I think it lacks the contrapuntal element in Mahler's writing. Three further versions of the Tenth Symphony exist or are in preparation and in the summer of 1999 I would like to work on a solution to the symphony, putting together the different reconstructions that are available and adding points of my own.'6 for my reconstruction there were many compositional decisions that had to be made based on colour and timbre to capture the essence of what was intended by Mahler within the chamber instrumentation I chose to work with.\u003c\/p\u003e\n\u003cp\u003eThere are ‘mistakes' or ‘oversights' in the orchestral draft – pitch, rhythm, omission of change of clef, two different (wrong) key signatures at the same time, no indication of time signature etc., as well as unclear instructions, and opposing or contradictory passages in different sketches. There are also instances of contrapuntal vacuums, in which case, the study of the different performing editions proved essential.\u003c\/p\u003e\n\u003cp\u003eIn places, some performing versions have made decisions to change what Mahler wrote in the orchestral draft, assuming that these were mistakes. My version tries to remain as faithful as possible to the orchestral draft, short score and extra sketches, especially harmonically, even when the language used is not conventional. Like Michael Kennedy, I believe that Mahler was stretching the harmonic palette as far as he possibly could.7\u003c\/p\u003e\n\u003cp\u003eI believe the stark contrast of an idyllic Toblach in South Tyrol, shattered by the discovery of Alma Mahler's affair with the architect Walter Gropius\u003cstrong\u003e8\u003c\/strong\u003e is fully represented in Mahler's language, colour, texture and form in this symphony. Desperate Mahler scribbles are found throughout the manuscript: Der Teufel tanzt es mit mir Wahnsinn, fass mich an, Verfluchten! vernichte mich dass ich vergesse, dass ich bin! dass ich aufhöre, zu sein dass ich ver [. . .]\u003cstrong\u003e9\u003c\/strong\u003e ending with ‘für dich leben! for dich sterben! — Almschi!'\u003cstrong\u003e10\u003c\/strong\u003e on its final pages.\u003c\/p\u003e\n\u003cp\u003eIt is, in my opinion, the epitome of the pain\/beauty paradox, as described by Immanuel Kant.\u003cstrong\u003e11\u003c\/strong\u003e This is a work of excruciating beauty; a constant search for the sublime, which is found in the final movement.\u003c\/p\u003e\n\u003cp\u003eMahler is evidently distraught, as seen and heard through the pages of his manuscript. It feels like reading Mahler's personal diary, invading his privacy and witnessing his innermost emotions being exposed to the world. It almost feels wrong. The autobiographical content of this most passionate cry in Mahler's last symphony haunted me as much as the work itself. Yet, is there hope?\u003c\/p\u003e\n\u003cp\u003eWhat I have attempted to give is a faithful and stylistic re-creation of Mahler's \u003cem\u003eSymphony No. 10\u003c\/em\u003e – a correct representation of a large-scale work, retaining its profoundness, impact and magnificence; creating clarity of lines, but revealing the intimacy of the work.\u003c\/p\u003e\n\u003cp\u003eFor a conductor, to delve as deep as this, not only re-orchestrating, but rebuilding an unfinished, yet completely structured work, gives an extraordinary insight into the process of how to interpret a composer's work – even one as complex as Mahler. One explores the symphony's inner workings, practically and physically, but, more than that – especially in this particular work – psychologically.\u003c\/p\u003e\n\u003cp\u003eEven in his most impassioned symbolic tenth symphony, Mahler, the man of contrasts, remains unfaltering … the cruelty of the situation, the hurt, the anger, the tenderness, the anguish and torment … and the clinging on to hope and the longing for the beauty to re-emerge, and the acceptance of what is.\u003c\/p\u003e\n\u003cp\u003eMahler's ‘scribbled verbal ecstasies' are almost as powerful as his music – maybe to be read by the one who has caused him so much pain – his ‘immortal beloved'? – The Beethoven of the 20th century.\u003c\/p\u003e\n\u003cp\u003e‘It is absurd for any conductor in the twenty-first century to proclaim the Tenth unperformable [...] The Tenth exists as Mahler's last word. It reveals Mahler, in his favoured metaphor, wrestling with his angel, refusing to let go without a blessing. If the symphony reveals nothing else, it is that Mahler did not surrender to fate, nor to depression at his wife's betrayal, nor to health fears, nor to any other force except his mission to compose. in these final pages he surmounted the fickleness of love and life in a way that only Mahler could, with a never-say-die symphony that offers in its last unfinished page a glimmer of hope. No knowledge of Mahler is complete without the live experience of his Tenth Symphony.'\u003cstrong\u003e12\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMichelle Castelletti\n23 September, 2015\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cstrong\u003e1\u003c\/strong\u003e H-L. La Grange, \u003cem\u003eMahler,\u003c\/em\u003e Volume I, Garden City, NY, Doubleday [\u0026amp;] Co, 1973.\n\u003cstrong\u003e2\u003c\/strong\u003e T-L. Chew, \u003cem\u003ePerforming Versions of the Tenth Symphony\u003c\/em\u003e , Naturlaut - Volume 1 (2), 2002.\n\u003cstrong\u003e3\u003c\/strong\u003e This includes individual [opposing] dynamics for different instruments which was revolutionary for the time.\n\u003cstrong\u003e4\u003c\/strong\u003e I conducted the premiere of this editorial score as part of my PhD on November 23, 2012.\n\u003cstrong\u003e5\u003c\/strong\u003e D. Cooke, \u003cem\u003eGustav Mahler – a Performing Version of the Draft for the Tenth Symphony\u003c\/em\u003e , London Faber Music, 1989.\n\u003cstrong\u003e6\u003c\/strong\u003e Sir Georg Solti, [with the assistance of Harvey Sachs], \u003cem\u003eSolti on Solti – A Memoir. Vintage,\u003c\/em\u003e 1998. It is the analyst\/musicologist inside the conductor who takes over. Solti is well-known for discovering the right tempo marking of the second movement of Bartók's \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e. This has forever changed conductors' interpretations of this work.\n\u003cstrong\u003e7\u003c\/strong\u003e Michael Kennedy, \u003cem\u003eThe Master Musicians – MAHLER\u003c\/em\u003e , [from the series edited by Stanley Sadie] Oxford University Press, 2000.\n\u003cstrong\u003e8\u003c\/strong\u003e J. Bruck, \u003cem\u003eMAHLER, G.: Symphony No. 10\u003c\/em\u003e , Wheeler, 1966 version. Polish National Radio Symphony, Olson, 1999. [NAXOS CD].\n\u003cstrong\u003e9\u003c\/strong\u003e ‘The devil dances it with me \/ Insanity grasp me, the cursed one! \/ destroy me \/ so that I may forget that I exist \/ that I cease to be \/ that I ver [. . .]'\n\u003cstrong\u003e10\u003c\/strong\u003e ‘To live for you! To die for you! – Almschi!'\n\u003cstrong\u003e11\u003c\/strong\u003e Kant, I., \u003cem\u003eCritique of Pure Reason\u003c\/em\u003e , Guyer P. [\u0026amp;] Wood, A.W. (trans.) Cambridge University Press, 1999.\n\u003cstrong\u003e12\u003c\/strong\u003e N. Lebrecht, \u003cem\u003eWhy Mahler – How one man and Ten Symphonies Changed the World\u003c\/em\u003e , Faber and Faber, London, 2001.\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Universal Edition","offers":[{"title":"Default Title","offer_id":42665064595535,"sku":"UE36396","price":597.75,"currency_code":"USD","in_stock":true}]}],"url":"https:\/\/www.ficksmusic.com\/ja\/collections\/mahler-symphony-no-10-in-f-sharp-major.oembed","provider":"Ficks Music","version":"1.0","type":"link"}