Gustav Mahler (1860-1911)
Symphony No.10 in F sharp major
(Revised performing version by Deryck Cooke with further revisions by Kurt Sanderling)
Berlin Sinfonie-Orchester/Kurt Sanderling
rec. 1979, Berlin
Berlin Classics 0094422BC [74]

I continue my mini-Odyssey through recordings of elaborations of Mahler’s last symphony with this admired account of Cooke’s second version plus further tinkerings by the great East German conductor Kurt Sanderling. I refer you to Tony Duggan’s 2001 review for some typically perceptive analytical and comparative comments. (He also observes that there is a slight blemish in the original tape master – this being analogue – at the start of the fifth movement, five seconds in, making the bass tuba wobble; that is not apparent on my copy so presumably it was corrected for later batches.)

I have found recordings of the various reconstructions to be almost invariably recommendable; with few exceptions, they are immaculately prepared and executed by dedicated performers. The only one which disappoints is that by Jesus López-Cobos in Cincinnati on Telarc, being too driven and soulless. I have no such reservations about Sanderling’s account; it is somewhat faster than many but far from perfunctory. Sanderling’s manner is direct and cohesive; the concentration never lapses and the cumulative effect is of one great sweep through Mahler’s deeply conflicting emotions until we arrive at apotheosis.

The playing of the Berlin Sinfonie-Orchester (now the Konzerthausorchester Berlin) is impeccable but Sanderling’s more urgent tempi, pressing ahead, may mean that some listeners would prefer the lusher sound of the BPO under Rattle, the VPO under Harding or the Philadelphians under Ormandy and Levine. It is remarkably vivid – hardly distinguishable from later digital releases – giving real bite to the shrieking woodwind and bass depth to the low strings in the first movement Adagio. The “Scream” is the loudest and most overt I have yet heard and although it is arresting, I don’t think it is quite as shattering as those which put more space around it and create a more desolate ambience.

The second movement is dour and dogged with few flashes of joy or relief until the slow waltz Trio which is still pretty strange and chilly. TD refers to its “world-weariness” and I think that’s right; indeed, as the movement draws to a close the mood becomes increasingly desperate. The Purgatorio harks back to the ambivalence of the “Des Antonius von Padua Fischpredigt” third movement of the Resurrection Symphony and is delivered in sprightly, unsentimental fashion, as preparation for the chaotic opening to the second Scherzo, and even the casual listener will be aware of the extra harshness imparted by Sanderling’s added percussion – a surely permissible addition, given that the symphony as a whole is a partly speculative construction. The movement gradually evolves into what almost seems to be a kind of manic elation but soon defaults to hysteria; the screaming brass and complaining woodwind at the close are especially telling.

I agree with TD that the drum strokes opening the finale are again too loud and present – quite a common fault in otherwise admirable recordings; they should surely be somewhat dull, massive, removed and otherworldly rather than so blatant. The subsequent, ethereal flute playing compensates and the high strings are beautifully tuned and steady before the ominous thumps return. The central section is merciless and this time the “chaos chord”, again very loud and prolonged, seems more aptly framed and we hit rock bottom back where we started if not worse – yet at 12:49, shafts of sunlight breaks through in the form of a rising figure carried by the woodwind and principal horn – its majesty unfortunately slightly marred by marginal blips – then Sanderling builds inexorably over the remaining seven minutes to a wholly satisfying conclusion without a hint of sentimentality.

This is a recording which is entirely of a piece and will appeal to those who like their Mahler direct, driven and cohesive.

Ralph Moore

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