Tenth Symphony: Full Score (Faber Edition)

Cooke’s edition has been criticized a lot by people who, I think, haven’t read much on it. If you buy this edition, do yourself the favor of reading his notes.I think we generally get that Mahler may have made tweaks and changed his plans had he lived. I think we generally get that Mahler 10, however complete it may be, leaves us wondering what it would sound like if Mahler had lived another year.I think Cooke wonders that too, and I think that’s why his edition is acceptable to me. He seems intent on doing only as much as needed to create something performable, and openly acknowledges the places where the resulting score is more speculative than definite.What we get is the shape of Mahler’s plan for the 10th. Maybe not every detail, but the shape. For me, that’s useful.People get very heated about the 10th. Personally, I don’t. I know what’s Mahler’s, what’s an educated guess, and what’s Cooke’s. I’m willing to take it as it is, and the clarity Cooke gives us is why.

Here, is a completely transparent effort to put all the logic of the symphony’s assembly into one place. It succeeds 100%. Deryck Cooke’s performing version is so well derived from the materials that Mahler’s failure to complete the finished score seems hardly to matter. Cooke (no relation to me) seems to know exactly what Mahler might have done as readily as anything else, so the authenticity of the sound in never in doubt. Much of the time, it seems quite reasonable to think that what Cooke came up with (after a lifetime of Mahler analysis) is right on the money. It is hard to imagine that Mahler would have done anything so different that the contrast between his version would have been stark. Instead, one can sit back and hear the music in its own context, wholly Mahlerian and believable throughout. Cooke’s assessment of 85% Mahler/15% Cooke is probably an understatement; it sound more like 99%.Get this score, if you want to have all the pertinent information on this symphony and it assembly; a revelation, much more than trying to make sense of all the many sketch materials in any efficient time frame.

This the orchestral score of Cooke's performing version of the Mahler 10th Symphony. For movements 3 through 5, which Mahler only left in short score, Mahler's 4-part score is included below the orchestral realization. Beautifully printed edition with an introduction and commentary by Cooke on the work's history and genesis as well as detailed notes on all editorial matters. An absolute must-have for the serious Mahler enthusiast.

I used this monograph to listen and watch the score unfold as I did so.

The score is clearly new and was in flawless condition in the inside. However, it came with a few scratches and bendings in the cover.

For a musical layman, scores can be a useful adjunct to the listening experience. Often they are illuminating and invaluable in elucidating a composer's intentions above and beyond what the ear alone can tell us. And Mahler's scores are more fascinating than most, filled as they are with the composer's frequent and highly detailed, precise instructions and advice to his performers.But this score is much more even than that. This is Deryck Cooke's performing edition of Mahler's Tenth, which comes with all the caveats about its nature that this brilliant but always self-effacing musicologist attached to his score. What makes it so invaluable is the vivid picture it gives us of the actualities of Mahler's writing - as far as he had got with it before his death. The musical line - the musical argument, if you will, - is complete throughout the entire piece - i.e. there is more `authentic' Mahler in it than in, say, Mozart's Requiem or Bartok's Viola Concerto. Yes, of course, Cooke has had to compose a lot of material, particularly in the final two movements, to fill in the harmonic and contrapuntal texture of the piece. Nevertheless, there is not a bar that is not, at least in a small sense, Mahler's own. And Cooke has been meticulous in spelling out exactly the nature of the source materials from which he worked and precisely what all his editorial emendations, corrections and additions have been bar by bar. Mahler had scored (not always fully, but nonetheless consistently) all the first two movements and the first half of the Purgatorio. For these movements, Cooke indicates very clearly what is Mahler's original and what has been added or corrected. For the latter half of the Purgatorio and in the final two movements, only a 4- (occasionally 5-) stave short score was completed at the time of Mahler's death. Here we are presented with that entire short score at the base of each page so that bar by bar comparisons with Cooke's performing score are always immediately apparent. And, of course, there are copious, comprehensive and clear notes at the back on editorial decisions throughout the piece. Cooke's introductory prefaces are also invaluable, eminently readable and - as al;ways with Cooke's work - a model of musicology and musicianship.Before condemning this edition as some have, it is worth remembering how extensive Mahler's own changes could be to the scores of his symphonies, once he had heard them in the flesh. This was something he never had the opportunity to do with either Das Lied von der Erde or the Ninth Symphony. To that extent, even these two masterpieces could be said to be incomplete, not having undergone the corrections that Mahler would inevitably have made, at least to the orchestration. This performing edition of a great Mahler symphony takes us a stage further admittedly, but brings us closer to the music and the musician.I shall never forget the impression made by the first performance of this wonderful performing edition of the Tenth at a Prom in the Albert Hall on a hot summer's evening in 1964 (yes, I was there), conducted by the man who had given Cooke so much invaluable help in preparing the score, Berthold Goldschmidt. As the miraculous flute melody in the finale rose out of the chthonic depths of muffled drum, tuba et al. you could have heard a pin drop in that vast space. And the final pages left the audience dumbstruck for some moments before the applause broke out.From all that, you can tell that I have no reservations - ethical, musical or any other-wise - in saying that this edition should be performed alongside the rest of Mahler's symphonic canon - with all Cooke's caveats, yes, but also in the knowledge that this is Mahler's final intensely moving masterpiece, music we all have the right to hear, music which bears his imprint in every bar.If you can read music, I would also encourage you to get hold of a copy of Cooke's score. It will add enormously to your understanding and enjoyment of the piece, I feel sure.As a post scriptum, it is worth noting the irony that Deryck Cooke also left a masterpiece unfinished at his death - the wonderful torso of his study of Wagner's Ring, I Saw the World End.

Mahler tenth deserves a proper binding, and so does Deryck Cooke!I recently bnought your edition of Mahler’a 10th Sympohony, A work by Mahler deserves a proper binding. This binding is a shame! Glueing the pages in a glue liquid is what might be done to cheap pocket novels that one throw away after reading it. Dover publications do it the right way, at least with music books, they can open flat, and you needn’t «stretch» the book sideways to keep it open and pages will not fall out. Your edition of Mahler’s 10th aftesuffer from what I would call the 'American book disease' where pages have to be opened with force and then fall out after the glue has ‘petrified’. Probably is bit cheaper, but you ought to have waited until you got funding enough to issue a proper edition, in my opinion. Could you please get it done properly, or ask Dover to publish it? Sorry for having to write this, but as a Mahler fan I have no other choice. Yours Hans Ragnar Mathisen, [email protected]@online.no.

This is the only performing score of Deryck Cooke's performing version of Mahler's 10th Symphony that I found at an affordable price--though it's not cheap. It also includes a useful explanation. Together with Mahler's own handwritten incomplete score, available free online

Although this edition is comparatively expensive, this symphony was incomplete at the composer s death. This score is uniquein that it contains the movement completedby the composer but also the the sketchesfor the outline of the symphony, all contained within the completed opus.

Excellent score with a clear summary of the gestation of the piece. It's interesting to read that the first movement, despite claims to the contrary, is no more 'secure' than the last.

Prodotto spedito tempestivamente e ricevuto in perfette condizioni. Difetti: costo elevatissimo, qualità della carta mediocre e rilegatura che non consente di tenere aperta la partitura (le pagine sono incollate). Do tre stelle perché non ho trovato alternative e la decima completata da Cooke merita un approfondimento con partitura se si è in grado fi seguirla.