Commenting on the 1st movement, the tempo changes here are much more convincing. Gamzou has shown that Mahler took the idea of double variation from the last movement of the 9th, and transported it to the 1st movement of the 10th. The tempo changes highlight the form. Bravo!

I agree completely. The Mahler Tenth is a small obsession of mine. I've heard and have copies of every version I hear about. They usually fall into two categories: timid and scholarly or just plain bizarre. Gamzou has crafted an edition that sounds very Mahleresque and adventurous without slipping into misguided "improvements" to the sketches. Gamzou is also an incredibly gifted conductor. I hope he stays on the podium for the next 40 or 50 years.

Why all the "noise"? this version of the 10th appears closer to the classic "darkness to Light". On replaying, it sounds more hopeful of a positive and peaceful resolution. IMHO it is not a restatement of the Ninth but gives a mood that is closer to the final message in "Das Lied". This reading is more emotional and heartfelt; not profoundly academic. My impression is then we are listening to an expanding apotheosis of "Das Lied von der Liede" that surely evokes eternity.

Bravissimi 👏👏👏👏👏👏💐💖🌷❤️🎶💖😘

These days I've bought and listened to the Wergo's cd with the International Gustav Mahler Orchestra, recorded by this conductor in 2011, and, strangely, I've noticed some differences with this, more recent, live performance, especially in the last movement, in which it is mantained the effect of the covered drum, respect to the live performance uploaded on KZfaq. Generally, tempos are less erratic in the previous recording, that I find more convincing than this one. Anyway I continue to prefer Cooke's one.

Paradoxically, I think that the Gamzou version would be better served by another conductor than Gamzou himself.

The conductor s awkward tempo choices matches his awkward dress standard !!

What fresh hell is this? I ordered a double bourbon neat, and got a frou-frou drink! Somebody please take a good long look at Mahler's death mask - THAT is the Tenth! Call me a throwback if you will, but Cooke (and Ormandy/Philadelphia) FTW!

I listened to this a 2nd time.The best realized movement as a whole for me is the 3rd. The 4th again suffers from the same erratic tempo changes as the 2nd.But the finest part of the realization is the transition from the 4th movement into the 5th.This is a significant improvement on the Cooke version.The allegro section again has too many tempo changes.But the end is very effective. But I wonder if Mahler, having ended the 9th with strings only, would have done the same with the 10th.

I mean the Cooke version also sounds quite nice, but Gamzou's 10th seems to get much closer to the "late Mahler". Thank you so much for this great piece of music!

While I welcome Mr Gamzou's efforts towards a performing version of Mahler X, I think a number of issues such as unmotivated accelerandi, a certain thickness in the instrumental texture, the bizarre cymbals in the Purgatorio and a general lack of transparency in the most therapized sections need further attention. For me this version certainly doesn't replace Cooke III.

Mir gefallt´s - Die Musik ist schlüssig und nachvollziebar.

This orchestration makes it sound a lot like Mahler 9.

No one noted the fact that, absurdely, like Carpenter, Gamzou ruins one of the strongest effects of the unfinished score, created by Mahler himself and not by Cooke or anyone else, that is the thunderous covered drum at the beginning of the last movement, substituted in the present performance by a simple big bass drum, with such a diminution of the overall result! Sincerely, I don't understand why!

Mahler was director of the opera at Kassel as a young man. He wasn't too happy with the situation there. Clearly, things have come a long way in Kassel, since then.

not one of the cooke versions is a completion in any sense of the word. they were never meant to be. ''performing versions' is what they are, and any musician really familiar with mahler's music knows that they are woefully inadequate. in essence, they're musicological treatises. and as far as being 'musical pictures' of the state at which mahler left the symphony at his death, a whole lot of musical choices and editing went into them. so personally, i've never been convinced of this claim. although i do not agree with many of the choices that gamzou has made, especially in regard to tempi, there are also many revelations in the manuscript which cooke simply disregarded. i.e., isolated notes which had no apparent function, but that gamzou took as hints of orchestration. i applaud gamzou for making a complete realization of the score. the best one out there. since the cooke versions have been around for quite a while, imagine for a second that the gamzou version came out first, and then the cooke versions. in this light, the latter would be laughable. one must open his or her ears to get over the habit of the inadequate cooke versions.

Da muss man beim Sprecher zu Beginn korrigierend hinzufügen, dass erstens der 1. Satz "Adagio" von Gustav Mahler fertiggestellt wurde und dass zweitens die übrigen Sätze in Form eines Particells mit 4 Notensystemen durchkomponiert sind - und sicher nicht "mit wenigen Noten". (Ich habe eine Kopie des gesamten Particells und habe noch nie ein so "spannend"-interessantes Buch gelesen wie das Particell von Mahlers 10., wenn es darum geht, was alles zwischen den Zeilen - hier den Notensystemen - steht.) Alma Mahler wollte, dass der Komponist Ernst Krenek die Rekonstruktion und Instrumentierung des Particells vor- bzw. übernimmt. Er lehnte jedoch ab, da ihm das Particell zu skizzenhaft erschien. Dem englischen Musikwissenschaftler Deryck Cooke gelang in den 1960er und 70er Jahren eine letztlich beeindruckende Rekonstruktion der gesamten 10. Symphonie von Gustav Mahler. (Es gibt eine sehr gelungene Einspielung mit dem Philadelphia Orchestra unter Eugene Ormandy.) Die Rekonstruktion durch Yoel Gamzou - die hier zu hören ist - ist eine weitere, sich von der Fassung von Deryck Cooke wenig bis mitunter kaum unterscheidende Version, um zu hören, wie die Sätze 2, 3, 4 und 5 in etwa geklungen haben mögen, hätte Gustav Mahler sie noch fertigstellen und somit vollenden können.

Gamzou me fait penser à ces metteurs en scène d'opéras qui pour laisser une trace dans l'Histoire font tout et n'importe quoi pour choquer, quitte à prendre des libertés scandaleuses sur la partition. Je préfère la version Cooke III à mon avis inégalée et inégalable.

Some erratic tempos from conducting, especially in the first movement (Adagio-Andante) and this is the first time that I see a conductor drinking water from a bottle, during the pauses between each movement of this symphony!

Mahler's 11th symphony, nicknamed "Mythomania"..

Horst Schlämmer berichtet!

Interesting, but certainly not better than Cooke's one. The voice of the speaker, before the performance, is too much loud, sometimes, while the orchestral sound, too much recessed, is recorded at too much low level and with stereo channels inverted, too. Some slightly orchestral playing imperfections, especially in the brass section.

Don't forget it , Mahler is the most beautiful symphonist the world has ever had , and not this kind of half-mad clown on the stage .

In the end, we will never know what this symphony would have sounded like if Mahler had completed it. Although this is probably the best 'completion' of the work, and contains the best note readings of the manuscript, the biggest failing to these ears are the multiple tempo changes within a movement. There are frankly too many of them. Gamzou takes some of what is in the manuscript at face value, which usually means a broadening of tempo and a filling out of sonority. This become predictable.

Wow...signs of beginner...Tempos all over the place in the first movement,. exaggerated gestures all over the place, and the string sound of the orchestra lacks the necessary richness and depth that this music requires. Sorry to disagree, but the first movement was so fast in the opening, and then the same exact theme at an erratic tempo later, this just doesn't hold together...for me anyway. .I actually had to stop before the end of the first movement... Thanks for making another arrangement of the sketches to the Mahler 10th available. It will be interesting to compare at some point, but right now it's ...back to Cooke, Mazzetti., Wheeler. Carpenter and Bashai. I hope I can come back to this because I would like to see what he does with the completions.

No.

Clinton A. Carpenter's version needs another few tries! I am not sure I am happy with this one. I love any realization of Mahler's beautiful, if tentatively sketched, bits. But the fuller, richer, the better. Even if there is some question of authenticity. It might be good to remember it is all conjecture anyway what Mahler might have done with the music he wrote down.

Seldom nowadays like Mr.Gamzou to use such variable tempo in conducting of his version of Mahler Tenth ! You know it needs strong courage to overcome and persuade at least his senior (Management Board and GMD) , his orchestra and his audience . Its performance let me think about the golden era of conductors such as Mengelberg , Furtwangler and Scherchen and so on they all had their very personal style,they can interpret the same work in contrary way! He seems to be an isolated island to stand apart from the mainland of "commerical canned food music culture" that you realized that almost all the performances in same work are similar that only to to ingratiate the majority with protest the sale rather than to play by his own heart. Maybe someone feels this version is "shit" ..... but if you know that what was happened in the last year of Mahler , you would be understand why Mr. Gamzou approached in such way of interpretation.Also, Mr. Gamzou 's version of Mahler Tenth is very Mahlerian than other versions.(Let me explain the reasons next time) Let us to open our heart such as there are also different interpretation in playing one classic jazz piece . Why don't we accept in classical music?

In parts, sounds more like Schoenberg at his worst than Mahler (if only we knew what Mahler had intended).I will stick with Chailly's Mahler ed Cooke!

Terrible version, badly executed. Crazy tempo changes. Carpenters version is the best, although i have reservations about the muted drumm in 5. mvm..

It's too damned fast! and tuck your shirt in!

AFFREUX !!! HORRIBLE !!! La SUBLIME 10ème symphonie de Gustav Mahler est complètement DENATUREE ... TRAHIE !!! En outre, l'interprétation est TRES TRES TRES MAUVAISE !!!

Did not enjoy this performance.