Barshai Completes Mahler's 10th with Vibrant yet Painful Results
In a bold move, conductor Vladimir Jurowski presents the completion of Gustav Mahler's long-lost 10th symphony, orchestrated by Russian maestro Rudolf Barshai. Decades after its fragmentation and subsequent abandonment, Barshai's take on the work has generated both excitement and trepidation among music enthusiasts. While some may question the necessity of such an intervention, this version showcases Mahler's unbridled emotions and inner turmoil.
Under Jurowski's guidance, the LPO brings to life a rich tapestry of colors that transport listeners to the tumultuous world of Mahler's mind during his creative process. The orchestra masterfully navigates Barshai's additions, seamlessly integrating them into the existing score. This approach yields an unapologetic expressionism reminiscent of Shostakovich and Britten, both admirers of Mahler.
The result is a symphony that succeeds on its own terms, albeit with some initial culture shock for those familiar with Deryck Cooke's "performing version." Barshai's orchestrations bring forth an unprecedented level of vibrancy, but this comes at the cost of restraint and subtlety. The clattering xylophone, guitar, tuba, cornet, and woodblocks create a cacophonous yet captivating soundscape that showcases Jurowski's remarkable textural control.
As listeners delve deeper into the work, they are confronted with Mahler's anguished thoughts etched on the score, reflecting his turmoil following the discovery of his wife's affair. The Adagio section presents a gut-wrenching dissonance that mirrors Mahler's inner pain. Conversely, the Scherzo bursts forth in sparkling energy and the Purgatorio offers an oasis of ambiguous calm.
Ultimately, this version finds resolution in the finale, where darkness transitions to light through deft orchestration. Whether driven by Jurowski or Barshai, Mahler's ultimate message of forgiveness shines with a radiant certainty that is both powerful and moving.
In a bold move, conductor Vladimir Jurowski presents the completion of Gustav Mahler's long-lost 10th symphony, orchestrated by Russian maestro Rudolf Barshai. Decades after its fragmentation and subsequent abandonment, Barshai's take on the work has generated both excitement and trepidation among music enthusiasts. While some may question the necessity of such an intervention, this version showcases Mahler's unbridled emotions and inner turmoil.
Under Jurowski's guidance, the LPO brings to life a rich tapestry of colors that transport listeners to the tumultuous world of Mahler's mind during his creative process. The orchestra masterfully navigates Barshai's additions, seamlessly integrating them into the existing score. This approach yields an unapologetic expressionism reminiscent of Shostakovich and Britten, both admirers of Mahler.
The result is a symphony that succeeds on its own terms, albeit with some initial culture shock for those familiar with Deryck Cooke's "performing version." Barshai's orchestrations bring forth an unprecedented level of vibrancy, but this comes at the cost of restraint and subtlety. The clattering xylophone, guitar, tuba, cornet, and woodblocks create a cacophonous yet captivating soundscape that showcases Jurowski's remarkable textural control.
As listeners delve deeper into the work, they are confronted with Mahler's anguished thoughts etched on the score, reflecting his turmoil following the discovery of his wife's affair. The Adagio section presents a gut-wrenching dissonance that mirrors Mahler's inner pain. Conversely, the Scherzo bursts forth in sparkling energy and the Purgatorio offers an oasis of ambiguous calm.
Ultimately, this version finds resolution in the finale, where darkness transitions to light through deft orchestration. Whether driven by Jurowski or Barshai, Mahler's ultimate message of forgiveness shines with a radiant certainty that is both powerful and moving.
just listened to the new Mahler 10th symphony and I'm FEELING ALL THE EMOTIONS 
Barshai's orchestrations are so VIBRANT 
but also kinda JAW-DROPPING 
like, who needs restraint when you're dealing with MAHLER'S INNER TURMOIL?! 
The Adagio section gives me CHILLS 
. The addition of instruments like xylophone, guitar, and woodblocks brings a whole new level of intensity and emotion to the table 
. I'm intrigued by how Barshai's orchestrations balance out the chaotic bits with moments of serene beauty 
. And can we talk about the Adagio section? It's like Mahler is spilling all his heartbreak onto the page 
. The fact that this symphony comes together in a finale that transitions from darkness to light is just so beautifully cathartic 
.
️
, it's been on my list for ages, but I keep putting it off. I'm not sure if I'll ever get the texture right... or maybe that's what Barshai did with Mahler's 10th symphony - he added his own touch of experimentation 
. Anyway, back to that granola... have you tried using coconut flakes?
But for real, it's like they're speaking straight to my soul – all the turmoil and pain, it's like Mahler was just tapping into his own angst 
... still not sure if I fully get what Barshai did to Mahler's score though 
. And don't even get me started on the dissonance – it's like they took all Mahler's pain and sadness and turned it into a headache 
. Still, I guess it's better than nothing, and the finale is pretty beautiful 
. Can we just stick to the original scores from now on? 
. Give Mahler's original a break, folks!
. I'm not gonna lie, there were some parts where I was like "what's going on?" 
. Anyway, if you're a fan of Mahler or just looking for something new to listen to, I'd totally recommend checking this out 
!
and it takes me out of the emotional experience. but at the same time, i can appreciate the energy and emotion that barshai brought to the table 
. Barshai's orchestrations are definitely a bold choice, but you can tell Jurowski is trying to rein him in so it doesn't get too overwhelming 
. The xylophone and guitar are wild, but the Adagio section is SO hauntingly gorgeous 
.