Mahler: Symphony No.10 [CD]

I know that there are other recommendable recordings out there, but comparison of these two makes sense to me for several reasons, practical and aesthetic: one, I own them both; two, they are both excellent; three, they represent contrasting, very diffferent but equally successful interpretative stances.

Rattle's version has attracted far more attention and many more reviews, for obvious reasons, but don't let that, in combination with the fact that his Mahler cycle as a whole might not be up there with the front runners, lead you to dismiss Inbal. For some reason, Inbal and his Frankfurt orchestra really came into their own for this one.

Broadly speaking, Rattle's view of this wonderful symphony, in the equally admirable completion (OK - "performing version") by Deryck Cooke, is typical of his strengths (reflected in his latest Brahms symphony cycle) and weaknesses (an ennervated and static Requiem by the same composer) as a conductor. Occasionally, he relies too heavily on too ponderous an approach which can cause his interpretation to plough into the sand and choke. Here, although he favours much broader tempi and phrasing than Inbal, I think he gets away with it: this is a grand, monumental 10th, far more tragic and reflective than Inbal's nervier, more propulsive and hopeful account. Thus, some find Rattle nerveless and cold, others find a stately beauty in his more reserved approach.

Both versions enjoy superb sound. Rattle's is spliced from two live performances and is slightly rounder and duller - or perhaps less edgy? - than Inbal's brighter studio recording; either way, the ambience provided complements each conductor's artistic choices. Inbal's woodwind is more pungent but there is more sheen on the Berlin strings - which could be the result of both their innate orchestral sound and the engineering. Both orchestras play superbly, although some find an echo of too much smoothness in the BPO's strings - a remnant of the Karajan era, they complain.

Movement by movement, the same generalisations are confirmed in the details: the opening is more resigned and yet more tender, too, under Rattle; more violent and heroic under Inbal, especially in the shattering, climactic, nine-note dissonance and the A-flat minor chorale. Both Scherzos are weightier and more refined under Rattle; more rustic, unbuttoned and even vulgar under Inbal, especially in the Ländler sections. I love the way Inbal's brass screams and howls in the second Scherzo; Rattle is almost too civilised by comparison. In the tiny, central "Purgatorio" movement, Rattle brings darker sonorities and colouring, Inbal is sharper.

The interpretation of the vast final movement could be a clincher for some listeners: the otherwordly beauty of the flute's theme leading into the concluding cantabile section is exquisitely played by Rattle and the BPO; his broader tempo and their singing strings impart a profound melancholy which offers less of a sense of resignation and consolation than Inbal's vibrancy. Both make much of the bitterly ironic quotations from "Das Lied von der Erde". One crucial detail stands out for me: I much prefer the way in which Inbal secures a real swooping, Mahlerian portamento from the Frankfurt strings on that last leaping sixth skywards; Rattle's is almost diffident in its polite timidity.

In the last analysis, I prefer Inbal's heart-wrenching humanity to Rattle's bleaker, more detached stateliness, but make no mistake: both are deeply moving, wholly recommendable recordings.

Mahler's 10 th Symphony is probably one of the most debated works by Mahler, since it remained unfinished at his death in 1911. Many years later Deryck Cooke revived the score and completed what he called a "performing version" of the 10th. A number of conductors / orchestras have recorded the 10th, but this 1999 version from Sir Simon Rattle and the Berliner Philharmoniker is for me the ultimate version to listen to.

Rattle also recorded a version with the Bournemouth Symphony Orchestra in 1980 (EMI Classics CDC 7 54406 2) and Kurt Sanderling (Berlin Classics 0094422BC) recorded another version with the Berliner Sinfonie Orchester in 1979. Both of these are excellent versions of the 10th, but in my opinion do not come close to Rattle's 1999 recording in terms of subtle shading, emotion and impact. When I first heard Rattle's 1999 recording, it touched my heart and soul and utterly captivated me.

If you want to hear Mahler's music at its best, then get this recording. You won't regret it.

As a huge admirer of Sir Simon and a Mahler addict; I was severely disappointed with this release. Sure, the BPO's polished sound and virtuoso playing are very impressive but they somehow lack the musical alacrity for which Rattle is famous.

The first Rattle recording of the Ten with the Bournemouth SO, although not as technically accomplished as this, outshines this release by a long way. The drama, dynamics, tenderness and heart-rending emotion of that original recording (especially the 2 big adagios) are utterly compelling.

Similarly, the first scherzo in this recording sounds heavy and sluggish in comparison to the original. The Purgatorio, likewise, loses most of its shadowy and sinister character in the new recording.

Using the Faber full score to follow the music; its hard to believe that Sir Simon actually got his way with the redoubtable BPO - although, without a shadow of a doubt, he is the greatest living conductor, this is puzzling.

This is by no means a bad recording (a la Levine - dreadful); but if you want the real Mahler, stick to Rattle's original recording. I doubt it will ever be bettered. With due respect to the other reviewers I simply feel that they are mistaken. Incidentally, by popular musical consent, the greatest performance of this work took place at the Royal Festival Hall under the baton of Rattle with the CBSO - at which I was present. Curiously, no release of this performance has emerged.