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3CD set at a reduced price
1960 lecture performance - 1964 Proms Premier
Philharmonia Orchestra - London Symphony Orchestra
Berthold Goldschmidt conducts.
Previously unpublished
MONO
Gustav Mahler 1860 - 1911
Symphony no. 10
Compact Disc 1 (35.16)
1 - 39 Cooke's illustrated BBC talk, 19th December 1960
Deryck Cooke - speaker & piano
Philharmonia Orchestra
Conducted by Berthold Goldschmidt
Compact Disc 2 (67.42)
1 - 19 Studie performance of Cooke's inconplete first version, broadcast on the BBC Third Programme, 19 December 1960
Philharmonia Orchestra
Conducted by Berthold Goldschmidt
Compact Disc 3 (72.29)
1 - 5 The 1964 Proms Premiere of the full-length version of Mahlers draft
London Symphony Orchestra
Conducted by Berthold Goldschmidt
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Most Helpful Customer Reviews
9 of 9 people found the following review helpful
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This is, without doubt, one of the most important Mahler releases of the last twenty years. We are indebted to the BBC for issuing these broadcasts.
No collection of Mahler would be complete without these three discs.
There is no need here to recount the remarkable story of Deryck Cooke's outstanding achievement in realising the sore of this symphony for public hearing - that story is readily accesslble but what are apparent in his illustrated talk(disc1)are his humility and the profound sense of reponsibility he felt.
Disc2 is a studio performance of Cooke's first version and disc3 is the 1964 full-length version given at that year's Promenade concert. I well remember hearing that broadcast and the incredibly impression it made on me and the audience.
Over the past forty-seven years numerous recrdings have been made and many better played but none with greater historical significence and none displaying a greater love of Mahler.
Disc3 is a monument,also, to Bernold Goldschmidt and the London Symphony Orchestra.
Any true Mahlerian would also want the Ormandy recording and the Rattle-Berlin of 1999.
No collection of Mahler would be complete without these three discs.
There is no need here to recount the remarkable story of Deryck Cooke's outstanding achievement in realising the sore of this symphony for public hearing - that story is readily accesslble but what are apparent in his illustrated talk(disc1)are his humility and the profound sense of reponsibility he felt.
Disc2 is a studio performance of Cooke's first version and disc3 is the 1964 full-length version given at that year's Promenade concert. I well remember hearing that broadcast and the incredibly impression it made on me and the audience.
Over the past forty-seven years numerous recrdings have been made and many better played but none with greater historical significence and none displaying a greater love of Mahler.
Disc3 is a monument,also, to Bernold Goldschmidt and the London Symphony Orchestra.
Any true Mahlerian would also want the Ormandy recording and the Rattle-Berlin of 1999.
3 of 3 people found the following review helpful
This three-disc set is designed certainly for those wishing to explore and understand Deryck Cooke's realisation of Mahler's tenth Symphony. It is not designed for those who are new to the work. For those simply wanting a credible recording of it, they should look elsewhere, for example to that by Simon Rattle and the Berlin Philharmonic.
Part of the reason I say this is that, although the third of the three discs contains a full Proms performance of the symphony, this is in mono and has the usual drawbacks of a live radio performance, namely coughing and spluttering and the shifting of feet from people who have stood for considerable time. Indeed, the whole three CDs are disappointingly in mono, and this makes the set really for the committed Mahlerian rather than for the debutant. The poor sound quality arises due to these being for radio transmission rather then a performance to be made for sale. It is not that there is excessive hiss and crackle, but instead to the rough edge of the orchestra's sound.
In the first CD, Cooke stresses that his is a realisation rather than a completion. Mahler's score was complete more or less, certainly in terms of thematic lines, although even here there were a few gaps that Cooke had to conjecturally fill. There were more gaps where the full orchestration was concerned, but Cooke has nevertheless skilfully made real, I believe, a version of the tenth with which we can all be at least content, if not 100% happy. On the first CD he goes through the five movements over thirty-five minutes, stage-by-stage prior to its performance on the second CD. Cooke makes plain he did not subscribe to the view that Mahler saw his tenth as a valediction; rather it is a benediction, moving in stages from `inferno' to `paradiso'.
So CD2 is the resulting realisation of Mahler's non-orchestrated sketches, as well as those parts that he did manage to orchestrate. The gaps, then, are essentially in the two scherzos. As Colin Matthews makes plain in his excellent sleevenotes, it was here, "where it seemed that the texture was deficient, amounting to not much more than five minutes of missing music", that Cooke had to draw deep inspiration. Cooke never claimed that he had completed Mahler's work. As Colin Matthews goes on to say, "Cooke was more aware than anyone of the imperfections of the [realised] work as it stands, and that Mahler was the only person who could have improved it."
There is very little in this set about Mahler the man. The focus is on his tenth and Cooke's realisation. For those wanting to explore this aspect, this is a marvellous, nay indispensable collection. For those wanting to know more about Mahler as a composer in his last years or about how Mahler himself composed what he could of the tenth symphony, they are likely to be disappointed.
Part of the reason I say this is that, although the third of the three discs contains a full Proms performance of the symphony, this is in mono and has the usual drawbacks of a live radio performance, namely coughing and spluttering and the shifting of feet from people who have stood for considerable time. Indeed, the whole three CDs are disappointingly in mono, and this makes the set really for the committed Mahlerian rather than for the debutant. The poor sound quality arises due to these being for radio transmission rather then a performance to be made for sale. It is not that there is excessive hiss and crackle, but instead to the rough edge of the orchestra's sound.
In the first CD, Cooke stresses that his is a realisation rather than a completion. Mahler's score was complete more or less, certainly in terms of thematic lines, although even here there were a few gaps that Cooke had to conjecturally fill. There were more gaps where the full orchestration was concerned, but Cooke has nevertheless skilfully made real, I believe, a version of the tenth with which we can all be at least content, if not 100% happy. On the first CD he goes through the five movements over thirty-five minutes, stage-by-stage prior to its performance on the second CD. Cooke makes plain he did not subscribe to the view that Mahler saw his tenth as a valediction; rather it is a benediction, moving in stages from `inferno' to `paradiso'.
So CD2 is the resulting realisation of Mahler's non-orchestrated sketches, as well as those parts that he did manage to orchestrate. The gaps, then, are essentially in the two scherzos. As Colin Matthews makes plain in his excellent sleevenotes, it was here, "where it seemed that the texture was deficient, amounting to not much more than five minutes of missing music", that Cooke had to draw deep inspiration. Cooke never claimed that he had completed Mahler's work. As Colin Matthews goes on to say, "Cooke was more aware than anyone of the imperfections of the [realised] work as it stands, and that Mahler was the only person who could have improved it."
There is very little in this set about Mahler the man. The focus is on his tenth and Cooke's realisation. For those wanting to explore this aspect, this is a marvellous, nay indispensable collection. For those wanting to know more about Mahler as a composer in his last years or about how Mahler himself composed what he could of the tenth symphony, they are likely to be disappointed.
3 of 3 people found the following review helpful
The Cumbrian music lover is quite correct in stating that we are all 'indebted to the BBC for issuing these broadcasts' but in fact I was responsible for saving the recording of the 1964 Proms premiere for posterity. The BBC destroyed its tape of the original broadcast back in the 1970s or '80s but fortunately I possessed a reel-to-reel tape of the repeat broadcast that was aired in 1965 which I supplied to the organisation for copying purposes about three years ago. (Naturally I possess all the documentation needed to prove the foregoing.) Stewart Brown of Testament Records knew all about my tape ever since I sent him a CD made from it about ten years ago, and when he finally saw his way forward to issuing the recording for the very first time on commercial CD, he quite rightly obtained the recording from the BBC but without crediting me in any way. Not that it matters. The Proms performance was a wonderful experience -- I was there -- and listening to it repeatedly on tape since the 1960s and then on computer-generated CD has never diminished the impact of what was a great performance. The horn playing of Barry Tuckwell, who in 1964 led the LSO horn section, has to be heard to be believed, it is so utterly committed and virtuosic. I cannot recommend this set highly enough, especially as Deryck Cooke's talk is so hugely informative. Any true Mahlerian must obtain this set, and be convinced by it that the finale of the Tenth is not only the finest music Mahler ever wrote but also possibly the greatest music ever written.
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