Luogo e data di registrazione		Alte Oper, Frankfurt (Germania) - 15/17 gennaio 1992
	Registrazione: live / studio		studio
	Recording Direction		Yoshiharu Kawaguchi (DENON), Richard Hauck (HR)
	Recording Engineer		Detlev Kittler (HR)
	Technology		Hideki Kukizaki, Holger Urbach (DENON)
	Edition		Associated Music Publishers, Inc., New York
	Edizione CD		Denon | CO-75129 | (1 CD) | durata 70' 49" | (p) 1992.12 | DDD
	Note		Special Thanks to: Brüel & Kjær. Co-production with HR (Hessischer Rundfunk).

During the summer of 1910 Mahler was putting the final touches to the full score of his Symphony No. 9 while at the same time making a start with his next symphony. Astonishingly, not only did he manage to complete all five movements of this enormous work in short score, but he also produced an orchestral draft, that is to say he arrived at the stage prior to production of the full score. This was a difficult time for Mahler in his private life: his marriage had reached a crisis point with the discovery that his wife Alma was having an affair with Walter Gropius. In spite of this, Mahler`s creative powers were at an extraordinarily heightened level. But he died the following year, on 18 May, shortly before his fifty-first birthday, leaving the work that would have been his Symphony No. 10 unfinished. The opinions of people close to Mahler differ as to whether or not he wished the score to be destroyed. The history of the Symphony No. 10 was set in motion once again after the First World War. On the instigation of Alma, the first and third movements of the work were first performed on 12 October 1924 at the Vienna National Opera House by the Vienna Philharmonic Orchestra under the direction of Franz Schalk. Immediately before the premiere, Mahler`s own manuscript of the whole work was published in facsimile. (The full score of the two movements published in 1951 was based on the score employed at the premiers.) Although the work had not been published in its entirety, interest was stimulated by publication of Mahler`s own manuscript, and the conditions were in place for other musicians to add to and complete the work. But the Nazi era soon dawned and Mahler`s music fell into eclipse. 1960, the centenary of Mahler`s birth, marked a turning point in the history of the Tenth Symphony. The English musicologist Deryck Cooke, who had previously written a short book on Mahler, researched the facsimile score, and succeeded in deciphering it and making his own copy. As he did so, he became aware that the music was in fact complete and that its content was quite worthy of Mahler's name. He then went about producing a performing score of virtually the whole work. The work was first performed in this edition (with the second and fourth movements in abbreviated form) on a BBC radio broadcast on 19 December 1960, and fostered an enormous response, Cooke then tried to come to grips with the sections which still posed unresolved problems. In the meantime, Alma Mahler was taking an increasingly negative attitude to the strinngs of scholars to complete the Tenth Symphony. Irate at these attempts, for a while she exercised her right as holder of Mahler`s copyright to forbid the work to be performed. But after hearing the recording she completely changed hcr mind and expressed her high opinion of Cooke`s achievement, giving him an unreserved go-ahead to proceed as he thought fit. Using several previously unpublished sketches which he had found, Cooke produced a "performing version" of the symphony, which was first performed in London on 13 August 1964 conducted by Berthold Goldschmidt, who had cooperated with Cooke in producing this version. A record appeared soon afterwards. In the first performing version by Deryck Cooke, Mahler`s unfinished Symphony No. 10 thus became part of the shared legacy of musiclovers everywhere. As Cooke frequently pointed out, this full score was not intended to represent a completion of the work by a hand other than that of the composer. Cooke's intention in producing this score was to enable orchestral performance of the not entirely completed score in that form. Apart from the tasks of wading through documentation and deciphering Mahler's notation, Cooke`s work involved principally rewriting the short score, which itself included a large number of specifications of particular instruments, in the form of a full score, and in several places adding subsidiary voices. But apart from this, Cooke was if anything astonishingly puritanical. The revised version of the full score published in 1976 (the first edition of Cooke`s second performing version) was published in parallel with a decipherment of the short score in places where Mahler had not left an orchestral draft. Efforts were thus made to clarify which parts had been added. This edition of the score was published together with a detailed commentary and notes. Unless one objects on principle to the performance of unfinished works, it is surely impossible to throw doubt on Cooke`s self-effacing and objective approach and on his deep understanding of and devotion to Mahler`s music. A reading of Deryck Cooke`s commentary shows that the obstinate opposition put up by Bruno Walter and Erwin Ratz was without justification. It goes without saying that if Mahler had himself completed the work, the Symphony No. 10 would have taken a somewhat different form. Although the layout and form of the movements appears to have been fixed in Mahler`s mind, it is quite possible that he might have shortened or lengthened individual movements, and Mahler`s orchestration and detailed performance directions are not such as to allow of accurate imitation by anyone else. But reading through Cooke’s full score and experiencing the music in performance makes us strongly aware that Mahler continued to the very end to be an innovatory composer at the height of his creative powers. By glimpsing to the other side of the incomplete manuscript, we feel a certain encouragement merely to live, for the lives of individual human beings are so often fated to end without being fully completed. The Symphony No. 10 is set in the highly unusual key of F-sharp major. At the centre of the work is a movement entitled "Purgatorio" which is in fact the shortest in any MahIer symphony. On either side of this movement are two vast scherzo movements, while the outermost movements are for the most part in an adagio tempo. The symphony is thus structured in a symmetrical five-movement form. The first movement is the Adagio also well-known from its inclusion in the Complete Works edited by Ratz. As with the two outer movements of the Symphony No. 9, it is structured in free form with alternation between two thematic groups. The first theme is in F-sharp major with wide leaps in the melodic line, and appears frequently in inverted form. The ironic second subject with its characteristic pizzicato accompaniment and trills is centred on the key of F-sharp minor. Development of these two themes and the opening viola recitative (appearing five times) reaches a climax with the appearance of a chorale in A-flat minor and a dissonant chord consisting of nine notes. The music then fades away as if having attained complete fulfilment. The second movement is the first Scherzo, and is set in the key of F-sharp minor. The main scherzo section is characterised by the use of varied metre that changes vcrtiginously with almost every bar. The ländler section, which is in the key of E-flat major and is related to the main theme of the first movement, is set in a stable triple metre which stands it off in stark contrast to the main section. According to Deryck Cooke, although Mahler created the orchestral draft of this movement, many of the details remained to be completed; he stated that it was this movement which gave him the greatest difficulty when preparing the full score. The two trio sections and the main section gradually fuse together after being presented in alternation. The overall outline of the movement is thus similar to that of the Scherzo from the Symphony No. S, with the music coming to an end in an optimistic vein. The third movement, entitled Purgatorio, is in the key of B-flat minor and is clearly related to the song "Das irdische Leben" from the orchestral song cycle Des Knaben Wunderhorn. As stated earlier, this is the shortest movement in any Mahler symphony and is structured in clear ternary form. Moreover, since about half of the recapitulation consists of a literal da Capo repeat, many people have expressed reservations about the music in this form. But in light of the fact that the various three-note motifs included in the main theme, the rising seven-note scalar motif, and the new theme which appears in the central section are employed as central material for the subsequent movements, in which they are used as motifs symbolizing longing and love (presumably with Alma in mind), this short movement is of key significance to the work as a whole, serving as the crux about which the dramaturgy of the work revolves. The fourth movement is the second Scherzo and begins in E minor. Three chords ring out like a motto and pave the way for a desolate dance piece evoking the first movement of Das Lied von der Erede. The main constituents of the scherzo theme are an octave descent introduced from the second movement and the three-note motif which appeared in the third movement. The despairing irony of Das lied von der Erde and the eeriness of the Scherzo from the Seventh Symphony here alternate with a vulgar waltz. The theme of the Trio is derived from the three-note motif. The accessory theme, with its atmosphere of a tavern waltz, appears at various junctures, often interrupting the tragic atmosphere. The piece in E minor sinks to a nadir in D minor to the accompaniment of timpani, and the coup de grace is delivered by a hammer-like strike on a "completely muffled drum" (vollständig gedämpfe Trommel; Cooke specifies use of a large military drum here). Alma Mahler explained persuasively that this sound was inspired by the funeral of a fireman which Mahler observed in New York. But whether or not this is in fact the case, it is clear that this sound is intended to forewarn the arrival of an extraneous element at once inauspicious and unavoidable. The Final is structured in an extremely original manner. The introductory section in D minor is followed by the main section, marked Allegro moderato. The music initially progresses conventionally in sonata form. However, the appearance of music from the first movement seems to negate all that has gone before. The ensuing adagio music soon reaches the key of F-sharp major with which the work as a whole began, slowly builds up and then fades away again to bring the work to a conclusion. The introduction of this last movement which begins with the foreboding sounds on the drum is based on material which appears in the third movement: the scalar motif in an extremely drawn-out form. the three-note motif. and the theme from the central section. The first introductory theme presented by the flutes gradually seems to thaw the frozen bass line into motion, leading to the second introductory theme and a harmonic motif which come to play important roles. They seem to forewarn tragedy, or perhaps to indicate that the tragedy has already occurred, in which case these lyrical sections are perhaps no more than cloying reminiscences. But the interval of a seventh which has been gradually stretching out its tentacles is interrupted by tlte large drum, and the music enters the main section. All of the material in this main section is derived from the introduction and the third movement. The motifs from Purgatorio not only constitute the prickly main theme: the second theme which leaps in the key of D major is itself a development of the theme from the central section, and indeed incorporates direct quotes. After a quote from the fourth movement, we enter the development or central section in which the first introductory theme strives for domination and then the recapitulation of the main theme. But the vast reemergence of the first movement breaks off all vestige of hope. In the same vein as the very opening of the work, we return to the point of departure, the music reappearing, in the original key, on the horns with a contrapuntal accompaniment provided by the trumpets. We are made aware that all striving towards a Faustian or existential resolution has been in vain. But the music at this stage is followed by a slow and purified cantabile section. We reach the nostalgic key of F-sharp major, and the harmony itself becomes reminiscent of the first theme from the first movement. Shortly before the series of introductory themes from the last movement gently rise up only to fade away again, the strings play a glissando leap of a minor thirteenth marked with a crescendo, slowly moving down towards the main harmony with the melody from the central thematic section of the third movement. Mahler rewrote this concluding section, although in both versions at this point he wrote in the name "Almschi" (Alma’s pet name). One wonders what may have been the emotions he wished to inject into the music. This is not merely a question of the personal relationship between Mahler and his wife. It concerns how we should be expected to interpret this cry which, within its mood of heart-rending pathos, is imbued with a sense of quiet resignation, and, going one step further, how we should view the end of the work as part of the whole. Having previously recorded the Adagio of the verison in the Complete Works, Eliahu Inbal became aware of the value of recording the Deryck Cooke performing version of this work. A comparison between the two versions has thus become possible on the basis of performances by the same orchestra under the same conductor. The second edition (Cooke`s third version) of the score was published in 1989 after Cooke`s death, but the performance on the present recording is based on the first edition (Cooke`s second version). Notes by Yasuhiko Mori Translated by Robin Thompson