Gustav Mahler Symphonie n° 10 en fa dièse majeur, « Unvollendet » Vidéos
Dernière mise à jour
2024-04-23
Actualiser
Gustav Mahler Deryck Cooke Thomas Dausgaard Bruno Walter Ernst Krenek Schalk Berthold Goldschmidt Goldschmidt Alma Mahler Seattle Symphony Orchestra New Philharmonia Orchestra London Symphony Orchestra 1861 1910 1911 1919 1924 1960 1962 1963 1964 1967 1972 1976
Seattle Symphony Orchestra conducted by Thomas Dausgaard I - Adagio: 0:00 II - Scherzo I. Schnelle Vierteln: 23:15 III - Purgatorio. Allegretto moderato: 34:21 IV - Scherzo II. Allegro pesante - Nicht zu schnell: 38:26 V - Finale. Langsam, schwer: 49:29 Mahler's tenth symphony was started in the summer of 1910 but was never finished, as h Mahler died may 18 of 1911. The only movement fully orchestrated was the first, the adagio. The third was quite complete and the rest of the movements were in a schematic phase, but with their design finished. Bruno Walter claimed that Mahler had asked him to destroy the score if it was not finished on the day of his death. He had never left a score unfinished, before he destroyed them, in the same way he did with his youthful works. If today we can have the pleasure of listening to part of Mahler's posthumous work, we owe it to his wife Alma, who in 1924 authorized the Viennese publisher Paul Zsolnay to publish the copy of the manuscript, with the surprise of finding a totally planned symphony, comprising five movements. Composer Ernst Krenek completed the instrumentation of the first and third movements, those that were more advanced, and premiered them at the Vienna Opera, performed by the Philharmonic under the direction of Franck Schalk. Finally in 1964, the Mahler Gesellschaft Foundation definitively corrected the Adagio's score. Deryck Cooke, an English musicologist born in Leicester in 1919 and specialized in Mahler, was working on the BBC staff when he was commissioned to do a job to celebrate the centenary of Mahler's birth in 1960. On December 19, 1960, the BBC in London made a broadcast of the symphony with the two incomplete scherzos, performed by the Philharmonia Orchestra conducted by Berthold Goldschmidt. But Cooke was not satisfied with this version and continued to work with the manuscripts left by Mahler, discovering that they said more. He made a new version of the complete work, but without correcting any of Mahler's musical ideas. Its only function was to complete what was missing, to make it an executable work. But then Alma Mahler emerged again, wanting her husband's wishes to be respected. He strictly prohibited the work to be performed again. It seems that he was influenced by Bruno Walter, who also supported this idea. In 1962, conductor Harold Bryns convinced Alma to listen to a tape recording of Cooke's first version of 1960's performance. Neither she nor Bruno Walter had ever listened to it. Walter had died when Mrs. Mahler listened to the aforementioned recording with emotion. The work moved her in such a way that she bursted into tears. Now she understood what her dead husband had meant and could not help leaving the world without being able to hear that music. The result was that on May 8, 1963, the ban was lifted. It could be freely interpreted anywhere on the planet. The completed and corrected version was performed by the London Symphony Orchestra, also conducted by Goldschmidt, on August 13, 1964 and published in 1967. But it would still undergo a new correction. The premiere of the definitive version was held on October 15, 1972 with the New Philharmonia Orchestra conducted by Wyn Morris and would be published in 1976. The first movement is built in the classical sonata form, but interpreted in a new way, which gives more importance to thematic variation than to the strength of contrast between the themes, as understood in its classical sense. It begins with a slow introduction by violas, presenting an austere theme. The first theme of the movement is followed by the first violins, accompanied by the rest of the high strings and the trombone. A melody of great intensity. The theme increases its expression, until the appearance again of the theme of the introduction. The themes are modified during their development, using clearly expressionist techniques. The themes fragment and undergo, what the German musicologist Tyll Rohland quite rightly calls, a morphological variation. In the classical variation, the morphology of the theme remains, something that now, as will be seen later in modern music, the themes are built and disintegrated, to be joined again later, but made of different wood, as for example it would be doing it inverted. This creates a movement with an almost unreal music, with the use of instruments in their extreme registers. The music culminates in a great climax, with sharp metal chords, dissonant chords from the string, and a shrill call from the trumpet, leading to the last section. [Description continued in the comments section] Picture: "Dante and Virgil in the Ninth Circle of Hell" (1861) by the French painter Gustave Doré. Source: (http•••)
Gustav Mahler Leonard Bernstein Vienna Philharmonic 1910 1960
Gustav Mahler - Adagio from Symphony No. 10 in F sharp major (incomplete), 1910 | Vienna Philharmonic, Leonard Bernstein. Movements 00:00 I Adagio Incomplete movements: Scherzo (sketches) Purgatorio (sketches) Scherzo (sketches) Finale (sketches) Other Recordings: Adagietto (http•••) Mahler left a substantially complete first movement of his tenth symphony, marked Adagio and published a few years after his death. It is a meditative, tragic movement, rising to a screamingly dissonant chord pierced by a high trumpet note. Mahler died after sketching out the rest. Musicologist Deryck Cooke discovered around 1960 that the composer had written at least a melodic line from the beginning of the second movement to the end, sometimes with detailed indications of instrumentation and harmony, sometimes with less information, sometimes with nothing but the melodic line. He used this sketch to produce a "performing version" in which to Mahler's material he added, where needed, countermelodies, harmonies, and orchestration. Later Cooke redid his completion, using a larger orchestra. The interior of the symphony comprises two scherzos divided by a movement called "Purgatorio," based on the accompaniment to one of his early Wunderhorn songs. The first scherzo is grotesque, the second more dramatic, with a great deal of good humor. The fourth movement ends with a muffled bass drum stroke, an effect Mahler observed at a New York City fireman's funeral procession. The final movement is a struggle movement, faster in tempo, not yielding easy answers, and reprising the screaming chord of the first movement. Is this completed version valid? Many conductors, including arch-Mahlerite Leonard Bernstein, did not think so. This writer accepts it as fascinating listening which is never less than at least a good imitation of Mahler, and frequently coming close to the genuine article.
Gustav Mahler Michael Gielen Beethoven 1910
Gustav Mahler Symphony No. 10 in F-sharp major Adagio SWF-Sinfonieorchester Michael Gielen, conductor Picture: Inge Prader, Recreation of ‘Beethoven Frieze’ by Gustav Klimt, detail ( life ball) The Symphony No. 10 by Gustav Mahler was written in the summer of 1910, and was his final composition. At the time of Mahler's death the composition was substantially complete in the form of a continuous draft, but not fully elaborated or orchestrated, and thus not performable. Only the first movement is regarded as reasonably complete and performable as Mahler intended. […] The very opening of the symphony (which is in the key of F-sharp major) maintains a connection with the final movement of the Ninth. A long, bleak Andante melody for violas alone leads to the exposition of the slow first theme in the strings.This theme is developed and another, lighter theme is exposed. The music dies away and the violas repeat the opening theme. With slight variation, the opening adagio is repeated and developed with growing intensity. This also soon dies away, leaving several variations on the lighter second theme. This works up to the climax, an extremely intense variation of the first theme. This restatement culminates in an extraordinary dissonance, after which the piece becomes very quiet. (http•••)
Pas plus ?
Tous les jours, soclassiq cherche de nouveaux articles, vidéos, concerts, etc. sur la musique classique et l'opéra, leurs artistes, leurs lieux de concert, leurs orchestres....
Symphonie n° 10 en fa dièse majeur, « Unvollendet » ? Nous n'avons pas encore rassemblé beaucoup de contenu sur ce sujet, mais nous continuons à chercher.
ou
- Les plus grandes œuvres pour orchestre
- Oeuvres incontournables: période romantique • période moderne & contemporaine
- Index (par ordre alphabétique): S...