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Studio Series
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Regularly a5
Thursday, January 29, 1976
Bernstein
conducts
Mahler
(Continued from Page 5)
THE TENTH symphony has
had a curious history, much of
which may become available
on record. A projected five-
movement work, Maher sketch-
ed the full symphony on four-
stave paper but only lived to
orchestrate the first half. In
1923, at the urging of eminent
musicologist Richard Specht,
Mahler's widow published a
facsimile edition of the score
and, since then, musicologists
have been strongly divided as
to whether the complete sym-
phony could be justifiably dis-
cerned from the sketches or
whether only the "Adagio"
movement was satisfactorily
intact.
Most scholar have apparently
favored the latter position, but,
three years ago, Wyn Morris
and the New Philharmonia Or-
chestra recorded a new orches-
tration of the full symphony by
musicologist Deryck Cooke. The
recording produced generally
unfavorable reaction and it is
likely that it was an honest but
sensationalistic effort to ad-
vance the career of Morris.
Bernstein's recording is as
loving and understanding as
one could hope for. The com-
plex melodic extension through
the strings is handled withthe
controlled tenderness that is
reminiscent of his three pre-
vious triumphs of Mahlersym-
phonies. The brass work, espe-
ciallv the high trumpet note at
the beginning of the coda, is
clear and communicates the in-
tense agony which is inherent
in much of Mahler's work.
THE TEMPO is fluid but
even and Bernstein keeps mas-
terful command over the New
York Philharmonic. Bernstein
instinctively understands the
emotional diversity of Mahler's
work, a diversity which ex-
tends from the whimsical first
movement of the fourth sym-
p~hony to the depths of pain as
in the sixth.
Bernstein has succeeded in
surmounting institutionaliza-
tion and has consistently re-
mained a'visible and productive
figure in musical performance,
composition, and education. His
explanation of Mahler's com-
plex genius is a personal and
public achievement and th
Mahler / Bernstein relationship
will surely be regarded as one
of music's most significant ex-
pressions.
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