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Mahler:Symphony No 10 [Seattle Symphony, Thomas Dausgaard] [Seattle Symphony Media: SSM1011]

4.9 out of 5 stars 7 customer reviews

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Product details

  • Conductor: Thomas Dausgaard
  • Composer: Gustav Mahler
  • Audio CD (9 Sept. 2016)
  • Number of Discs: 1
  • Label: Seattle Symphony Media
  • Other Editions: Audio CD |  MP3 Download
  • Average Customer Review: 4.9 out of 5 stars 7 customer reviews
  • Amazon Bestsellers Rank: 72,468 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
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Digital Booklet: Mahler: Symphony No. 10 in F-Sharp Minor (Completed D. Cooke, 1976) [Live]
Digital Booklet: Mahler: Symphony No. 10 in F-Sharp Minor (Completed D. Cooke, 1976) [Live]
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Product description

Product Description

A powerful and moving document of unforgettable live performances of Mahler's Symphony No. 10 (Deryck Cooke final version), with the Seattle Symphony under its Principal Guest Conductor Thomas Dausgaard. Of the live performance The Seattle Times wrote, "It was impossible to be in the house and not realize that something rare and significant had taken place."


Thomas Dausgaard's achievement is that he keeps a secure focus on Mahler's symphonic argument, drawing from his excellent Seattle players a sense that all is as it should be. I've sometimes had my doubts about the efficacy of various Mahler Ten performing versions , Deryck Cooke's being the most well-known and possibly the most satisfactory. Given the problematic ethics regarding whether or not we should be listening in the first place re-creative conjecture is all well and good, but what would Mahler have thought? a crucial issue is whether a given performance carries us across the threshold of doubt into a more certain place. Thomas Dausgaard's achievement is that he keeps a secure focus on Mahler's symphonic argument, drawing from his excellent Seattle players a sense that all is as it should be, and when the outer movements lunge at us with those terrifying climactic screams (David Gordon's lead trumpet raises a fearless alarm), we feel the fin de siècle is staring us head on. The Purgatorio third movement is creepily whimsical, the cynical second scherzo Das Lied's 'Das Trinklied vom Jammer der Erde' twisted like wrought iron profoundly discomforting, while the finale that grows out of it is heralded by thunderously funereal thwacks on the bass drum. Yes, a sense of repose does set in later on, but it's hard-earned and Dausgaard leaves us in no doubt as to the price paid. Superb sound. ***** --Classical Ear,Sept'16

You may be surprised by Thomas Dausgaard's force and conviction as a Mahlerian. This exceptional issue from the Pacific Northwest ought to be a game-changer for all concerned. GRAMOPHONE RECORDING OF THE MONTH .Gramophone, Awards issue '16 /// This has a strong claim to being the best Cooke version on record. --MusicWeb,Nov'16

It's striking that several of the best recordings of Deryck Cooke's performing edition of Mahler's final symphony come from less starry ensembles. Simon Rattle's trailblazing Bournemouth recording has much more oomph than his glossier Berlin remake. A moving version from Yannick Nézet-Séguin appeared last year, played by Montreal's Orchestre Métropolitain. This one, from Thomas Dausgaard and the Seattle Symphony, was recorded live last November, and it's better still. What a fabulous string section this orchestra has - violins absolutely fearless in Mahler's exposed high lines, cellos and basses like rich velvet. They re totally in sympathy with Dausgaard's very human take on the work. The first movement's screaming discord is terrifying, but what lingers is how this conductor leads us out of the shadows, Mahler picking himself up and dusting himself down in a radiant coda. The first scherzo fizzes, the metre changes handled with ease. Dausgaard really pushes the tempo in the closing minutes, but the effect is euphoric. Purgatorio is sly and mischievous, and a fast basic speed makes the second scherzo's sparer moments less problematic than usual. A seismic bass drum thwack introduces an involving, expansive finale which really does tie up the loose ends. The Seattle flautist is outstanding, but the greatest moment comes in the closing seconds: the strings' extraordinary upward leap is a thing to marvel at, and I defy anyone not to shed a tear as the symphony fades into silence. ArtsDesk, Oct'16 /// Here, by an exceptional command of long-term tempo relationships Dausgaard manages to unify the symphony into single whole. Without loss of intensity, it emerges as not only a psychological document but an orchestral classic- fully realised by the Seattle Symphony, long an adventurous outfit but here sounding like one of the world's great orchestras in a warm, spacious yet finely focused recordings. Performance **** Recording **** --BBC Music Magazine,Christmas'16

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