Gustav Mahler (1860-1911)
Symphony No. 10 (1911) (third version by Deryck Cooke)
BBC Philharmonic/Gianandrea Noseda
rec. 2007, Studio 7, New Broadcasting House, Manchester, UK
Chandos CHAN10456 [78]
John Quinn reviewed this very thoroughly on its appearance in 2008 and if I may summarise and paraphrase his findings, I think we may say that while he found much in it which is commendable, it is essentially somewhat pedestrian compared with recordings by more glamorous outfits such as Rattle’s BPO with whom JQ felt obliged to make invidious comparison. We now have so many excellent recordings of various performing elaborations of Mahler’s skeletal score that anything less than intense and thrilling need not be contemplated; fidelity to the score and Chandos’ invariably fine sound engineering are not in themselves sufficient to engage the punter’s consideration. However, let me be a little more specific about the merits and demerits of this account.
It begins low-key – which is fine, considering the length and emotional gamut of the journey on which the listener is embarking and by five minutes in, the big tune is really bedding in; the depth of sonority of the lower strings is very welcome. The BBC orchestra might not be the equal of the BPO but they sound very well and evince no hesitation in tackling the cruelly demanding score. Just occasionally there is a lack of bite or impact – although the great dissonant chord is forceful enough whereas the coda is very delicately managed.
Both JQ and I were unhappy with Noseda’s management of tempi in his complete set of Beethoven symphonies in Washington but I find his pacing to be mostly well managed here. However, I find the first scherzo to be just a little too comfortable and genial compared with conductors who uncover the latent menace in its conviviality – but it ends with satisfying bravado. Similarly, the Purgatorio is played in quite leisurely style which takes the edge off its threat. The second crazy scherzo is fine on its own terms but there is some lack of ferocity.
The drum-strokes opening the finale are dark and solid if a bit too present for my taste – but that is a minor consideration. As with every movement in this recording, everything is neatly, accurately handled but tension slackens in the central section and emotional depths remain unplumbed. The trumpet playing is exceptionally good before the serene coda in which the violins, flute and harp are prominent and the final upward sweep by the violins is lovely but I do not texperience the catharsis the apotheosis demands.
Almost every critic of this recording reports the same impression: for some almost indefinable reason, it is admirable in many ways but remains bland and unmemorable. Perhaps JQ hits the nail on the head when he observes that Rattle’s “interpretation is ‘lived in’ to an extent that I don’t think Noseda’s can be”.
Ralph Moore
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Noseda is perhaps at his best in big passionate and/or dramatic symphonies (preferably Russian). I personally find his Mahler interpretations convincing. This record was made I think literally the day after a Prom where they gave this work after a performance of Britten’s Sinfonia da Requiem. By then the happy relationship between Noseda and the Manchester band had been going on for five years. They did it again 3 years later as part of the Manchester Mahlerfest of that year. I remember Noseda was in charge of 1,6,7 and 10.
Noseda has done Mahler more recently wth the LSO with whom he has made many fine records of late. I havent heard his seventh though yet, made with his American orchestra and already reviewed here at MWI.
My favourite Mahler 10 is Rattle’s first. This was a very early digital recording that EMI made with Simon conducting the Bournemouth SO. Do you know he was only 25 years of age at the time but already so utterly immersed in music? I believe he gave his all into preparing that piece and it shows.
Thanks for revisiting these records again Ralph. Fresh insights and re-evaulations add to our understanding and appreciation of these works.
Thanks, Philip. I fear I am not much of a Noseda fan; I especially didn’t like his LvB symphony series and I don’t think our colleague JQ was over-impressed, either; LW’s review of the Seventh (https://musicwebinternational.com/2026/01/mahler-symphony-no-7-national-symphony-orchestra/) was much more enthusiastic if qualified. I do indeed like Rattle’s first, youthful account of the Mahler 10 and say as much in my review of the later BPO version.