Gustav Mahler (1860-1911)
Symphony No.10 (Cooke’s 3rd performing version)
Berlin Philharmonic Orchestra/Sir Simon Rattle
rec. live 24 & 25 September 1999, Philharmonie, Berlin
Warner Classics 5034202 [77]
This seminal, live composite recording has been extensively reviewed by three MusicWeb contributors of note: Tony Duggan and Colin Anderson on its release in the year 2000 (see their joint review) and again in 2007 by Dominy Clements (review). Since then, its status, in TD’s words, as “the first choice among the available recordings of the Cooke score by quite a long way” has hardly been questioned; indeed, it has been confirmed. However, that is not to say that others by such as Ormandy, Sanderling, Dausgaard and Harding are not almost equally rewarding, and some even retain a preference for Rattle’s rougher but more visceral studio account of Cooke II made almost twenty years earlier with the Bournemouth Symphony Orchestra.
I have been making a traversal of Mahler Tenth recordings, revisiting some of those favourites and encountering others for the first time, some in different…reconstructions? elaborations? – certainly not “completions” – and as a result find myself newly enamoured of this wonderful music but also especially impressed by Harding’s recording with the VPO (see my review); hence, it seemed only natural to compare what are arguably the greatest German and Austrian orchestras respectively – and with that early recording, too. Besides, a quarter of a century – a whole generation – has passed since this EMI release was first assessed, so it does no harm to explore whether opinions have shifted.
I am by no means an invariable admirer of Rattle’s output and do not consider his tenure in Berlin an unqualified success, but I readily admit that at his best he has produced some very fine performances. Let me echo DC and get one gripe out of the way: Rattle’s habit of grunting which can be obtrusive for those listening on headphones, as I often do. Otherwise, this is sonically impeccable, and nothing gives it away as live apart from the sense of occasion, these two concerts being the first after Rattle’s appointment as the BPO’s new Music Director had been announced, starting in 2002.
The sheer quality of the playing in all departments is remarkable; it is perhaps almost invidious to single out any section but there is beautiful solo work by first flautist – presumably Emmanuel Pahud – in the opening of the finale and how those strings soar in the lyrical sections. The famous, nine-note “Scream” and the dissonant, harmonically collapsed chord at the centre of the finale are both shattering in their different ways – but how serenely the remainder of the movement builds towards acceptance, reconciliation and yes, transcendence. There is no “competition” between the BPO and VPO here; both are sublime.
Rattle is slightly more refined reflective and restrained in Berlin compared to the more overtly emotional – youthful? – recording in Southampton; the pain and conflict of the music run a little deeper. Furthermore, as much as I enjoy the sound in the Philharmonie, there is an extra depth and brilliance to the early digital sound achieved by the engineers in Southampton Guildhall, whereas the sound in Berlin is a little plusher – like the orchestra – or perhaps that difference is indeed the result of the bands’ respective individual sound. There is, too, a kind of exhilaration to the playing of the Bournemouth SO which is infectious, compared with the patrician perfection of the Berliners. I do know that some years ago when I was pondering one of those periodic clear-outs of “shelf-cloggers” which the habitual collector must occasionally execute to avoid becoming a hoarder, I opted for Rattle’s Bournemouth recording even over the Berlin triumph – and although I now own and play both, I would not necessarily change my mind. I get the impression that the late TD would understand that, too. He is also right, however, that the hammer blows in Southampton are too loud and present – but how exquisitely the Bournemouth strings rise to the peroration of the finale.
So there you have it; you cannot really go wrong with half a dozen stunning recordings of this symphony and greedy Mahlerians like me want them all.
Ralph Moore
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