Mahler 10 is the beautiful and perfect fusion of Romantic and early expressionist chromaticism. This piano reduction has suddenly made that clear to me. Thankyou!
I - 0:08 II - 23:42 III - 34:59 IV - 39:05 V - 51:04 Adagio's climax - 16:15 Most beautiful melody in the world - 53:11 Ending - 1:04:31 Thank you again for these wonderful transcriptions ! 🙂
I can't express how much I love this work with your wonderful transcription! That passage at 53:30 in the Finale (originally with the flute) is one of the most moving music I know.... a few weeks I had the privildge to be in that little hut in Toblach where that was composed!
Absolutely amazing that you're on track to transcribe all of Mahler's symphonic output. Only #2, #8 and Das Lied are left. Thank you for your work, it's honestly incredible.
It's a real prowess to have been able to transcribe these symphonies and keep them very close to the originals, while making them pianistically relevant and playable. Usually, literal orchestral transcriptions sound bad or are written by someone who never actually played on a piano before.
I've only listened to the first movement so far (a couple times), but I have to say I absolutely love this. Thank God Alma didn't burn the manuscripts after Mahler's death as the composer had requested; what a tremendous loss that would have been.
Mahler never asked Alma to burn the manuscript of the 10th Symphony. He told his New York doctor that he wanted the score destroyed if he died before finishing it. But he changed his mind and told Alma to do whatever she thought was best with the score, describing it as 'fully prepared in the draft score. All this as well as other unfortunate misconceptions were fully discussed and explained in the essays that Deryck Cooke wrote in the introduction to the 1976 publication of his outstanding performing version. Cooke's collaborators published a slightly revised version in 1989 (13 years after Cooke's untimely death). They make some welcome corrections of some (but not all) of Cooke's misreadings of the manuscript but make some unauthorized changes to the orchestration which I totally disagree with.
Thank you for transcribing these unparalleled Mahler ' s symphonies !! Are you going to make a piano solo transcription of the final part of Mahler's 2nd symphony?
Bought the score like 5 years ago for the first movement and I’ve been waiting to hear it performed!! Amazing work with all of these transcriptions!!!❤
I just made a video with a few minutes of the very end. I'll maybe try to learn the middle section of the last movement and upload the whole movement in better sound, one day.
This is the finest rendition of the 10th that I know of. The best part of the Cooke version was the realization of the harmony. The orchestration was not as successful. Also, some of the added counterpoint - based on Mahler's own motives - was occasionally suspect, but here it didn't bother me. In this version with piano solo, one doesn't have to be concerned with the Mahler sound. One can imagine it. The piano texture is wisely invented, the arpeggiated chords are unobtrusive, often dovetailing the melodic line in an expressive way, and the interpretation is more convincing than other orchestral performances I've heard. Bravo Mr. Farrington.
@@pianoredux7516 The very thing about the Cooke version that fails for me is it's sound. Much of it doesn't sound like Mahler. Better in this respect is the Gamzou version. ruclips.net/video/Xe3spGupjro/видео.html&ab_channel=HNA
Hi Iain, Thank you for your work. Is it possible to include these beautiful pieces on Spotify? I was hoping I could savor these pieces on my long trips..
It's great to finally hear your performance of the closing movement. It sounds great. Really sensitive shaping. I bought a pdf of the score last year, but I can see you've made a few changes. Would you be able to send the updated version? I was curious about how the big upward interval at the close would sound, particularly (as I hadn't been convinced by the scale that was there before) but it works really well with the build through the Cs.
Get real, bro! This man is a genius and has accomplished a superhuman feat of transcribing and performing, on one piano, these massive pieces of musuic. You're asking for something that, as he has already replied, is a waste of time without the vocal forces.@@Mr-Prasguerman
@@Mr-Prasguerman it’s certainly possible but I can’t imagine it being very effective without all the vocal forces . Try thr vocal score if you want to play the orchestral part.
None of the Mahler symphonies translate very well to single piano reductions and through little fault of your own, this one falls especially flat. But I'm not sure there's anything a mere mortal could do about it outside of two pianos and extreme artistic liberty, if not outright additions and rewrites. Even still, the finale has always struck me as obviously unfinished. It just doesn't make a whole lot of sense from a formal or dramatic perspective - some sort of sonata rondo with an adagio introduction and coda that completely dwarfs the allegro rondo and said rondo is cut off by a recall climax of the first movement that comes out of nowhere, far too soon and far too unconvincingly. In any case, I'm positive Mahler would've adjusted the material by quite a bit had he lived to orchestrate it, despite whatever deathbed claims he may have made about it being musically complete. All that being said, you did a remarkable job given the task at hand. I just don't think it's a task anyone could pull off convincingly.
@@remomazzetti8757 yes i've found your version online, there's some things that I THINK mahler wouldn't have done, but regardless you added your unique twist and it sounds beautiful!
@@remomazzetti8757 I mean, it's not lost on me most of what Mahler is trying to do in the finale. The recalls of the key schemes, textures, motifs, specific moments of previous movements. And it's almost successful. But even after over 20 listens to the whole symphony, I've yet to see anything to convince me that the whole thing isn't badly proportioned with the rondo/sonata-allegro/whatever you want to call it being completely drowned by the slow introduction and coda, nor is anything from the recall of the first movement's 'scream' onwards very convincing to me dramatically. And there simply isn't anything in Mahler's completed oeuvre that I have similar feelings about. He was generally quite keen at dramatic pacing. Don't get me wrong, I love Mahler's 10th. The first movement is among the best things he ever wrote, and the finale is by no means bad. But I just don't accept that it would exist in the form it does had Mahler lived long enough to orchestrate it himself. I think he would've extended the allegro and possibly (slightly) reduced the coda. Ultimately, it's a matter of taste and I don't think either of us will convince each other of the opposite. But what I can say is the claim about it being one of his most innovative finales (when the 2nd, 4th, 7th, 8th, and especially, especially the 6th's all exist) strike me as highly debatable.
I was sceptical at first, thinking “oh no, not an entire symphony on the piano”, but I was impressed. This works as a really good piano piece.
A genius playing the work of another genius.
Mahler 10 is the beautiful and perfect fusion of Romantic and early expressionist chromaticism. This piano reduction has suddenly made that clear to me. Thankyou!
I - 0:08
II - 23:42
III - 34:59
IV - 39:05
V - 51:04
Adagio's climax - 16:15
Most beautiful melody in the world - 53:11
Ending - 1:04:31
Thank you again for these wonderful transcriptions ! 🙂
That melody in the Finale is indeed one of the most heavenly melodies in the world!!! Both with the original flute and here...
ian farrington is one of the greatest pianists ever, i say this because he plays polyrhythms and polyphony so easily, amazing work
I can't express how much I love this work with your wonderful transcription! That passage at 53:30 in the Finale (originally with the flute) is one of the most moving music I know.... a few weeks I had the privildge to be in that little hut in Toblach where that was composed!
Absolutely amazing that you're on track to transcribe all of Mahler's symphonic output. Only #2, #8 and Das Lied are left. Thank you for your work, it's honestly incredible.
DLVDE is doable for 2 hands but i dont think 2 and 8 will be that easy to do
It's a real prowess to have been able to transcribe these symphonies and keep them very close to the originals, while making them pianistically relevant and playable. Usually, literal orchestral transcriptions sound bad or are written by someone who never actually played on a piano before.
I've only listened to the first movement so far (a couple times), but I have to say I absolutely love this. Thank God Alma didn't burn the manuscripts after Mahler's death as the composer had requested; what a tremendous loss that would have been.
Mahler never asked Alma to burn the manuscript of the 10th Symphony. He told his New York doctor that he wanted the score destroyed if he died before finishing it. But he changed his mind and told Alma to do whatever she thought was best with the score, describing it as 'fully prepared in the draft score. All this as well as other unfortunate misconceptions were fully discussed and explained in the essays that Deryck Cooke wrote in the introduction to the 1976 publication of his outstanding performing version. Cooke's collaborators published a slightly revised version in 1989 (13 years after Cooke's untimely death). They make some welcome corrections of some (but not all) of Cooke's misreadings of the manuscript but make some unauthorized changes to the orchestration which I totally disagree with.
@@remomazzetti8757 I was not aware of this. I own the Cooke score (presumably the most recent) and will have to take a look. Thanks.
This is a masterly transcription - a revelation! Thank you for sharing the love you have for this amazing musical journey
Thank you for transcribing these unparalleled Mahler ' s symphonies !! Are you going to make a piano solo transcription of the final part of Mahler's 2nd symphony?
Dude you’re an actual beast great work
Bought the score like 5 years ago for the first movement and I’ve been waiting to hear it performed!! Amazing work with all of these transcriptions!!!❤
34:02 The ending of the scherzo is lots of fun
17:00 that infamous dissonant scream chord
WHITE-HOT PAIN
I just immerse in your music😊😊
17:09 for *the* chord
I just made a video with a few minutes of the very end. I'll maybe try to learn the middle section of the last movement and upload the whole movement in better sound, one day.
Excellent work!
So amazing. So helpful. Listening to the score has so many textures. You make it Mahlers own world at the piano. Just brilliant
easily the best arrangement out there! and what a performance....
Bravooooo!!!
I've been waiting my favorite symphony. ❤
always look forward to these
I'm buying the score. This is great!
This is the finest rendition of the 10th that I know of. The best part of the Cooke version was the realization of the harmony. The orchestration was not as successful. Also, some of the added counterpoint - based on Mahler's own motives - was occasionally suspect, but here it didn't bother me. In this version with piano solo, one doesn't have to be concerned with the Mahler sound. One can imagine it. The piano texture is wisely invented, the arpeggiated chords are unobtrusive, often dovetailing the melodic line in an expressive way, and the interpretation is more convincing than other orchestral performances I've heard. Bravo Mr. Farrington.
@@pianoredux7516 The very thing about the Cooke version that fails for me is it's sound. Much of it doesn't sound like Mahler. Better in this respect is the Gamzou version. ruclips.net/video/Xe3spGupjro/видео.html&ab_channel=HNA
Listening to the second movement I can see how much Shostakovitch was influenced by Mahler.
Hi Iain, Thank you for your work. Is it possible to include these beautiful pieces on Spotify? I was hoping I could savor these pieces on my long trips..
Thanks, I'm not putting these on Spotify as they're aren't commercial-quality recordings. Sorry to disappoint!
@@iainfarrington no worries. You have high standards :)
It's great to finally hear your performance of the closing movement. It sounds great. Really sensitive shaping. I bought a pdf of the score last year, but I can see you've made a few changes. Would you be able to send the updated version? I was curious about how the big upward interval at the close would sound, particularly (as I hadn't been convinced by the scale that was there before) but it works really well with the build through the Cs.
Thanks, that would be fine. Do send an email to Aria Editions and you'll get the new version.
When will you do the 8th?
I'm not arranging the 8th as it's essentially a vocal piece, requiring lots of singers (choirs and soloists) which I don't have!
@@iainfarrington ok
34:30
1:02:42
Thank you!!
(・∀・)ノ゙Thank you!!!
Once upon a time, the man who will never make the eighth......
Bro you try it then. You’re asking the man to essentially condense four full ensembles to two hands. Have you any clue how hard that is?
@@macmadnes5262 I imagine that, but it's not impossible either
Get real, bro! This man is a genius and has accomplished a superhuman feat of transcribing and performing, on one piano, these massive pieces of musuic. You're asking for something that, as he has already replied, is a waste of time without the vocal forces.@@Mr-Prasguerman
@@Mr-Prasguerman it’s certainly possible but I can’t imagine it being very effective without all the vocal forces . Try thr vocal score if you want to play the orchestral part.
None of the Mahler symphonies translate very well to single piano reductions and through little fault of your own, this one falls especially flat. But I'm not sure there's anything a mere mortal could do about it outside of two pianos and extreme artistic liberty, if not outright additions and rewrites.
Even still, the finale has always struck me as obviously unfinished. It just doesn't make a whole lot of sense from a formal or dramatic perspective - some sort of sonata rondo with an adagio introduction and coda that completely dwarfs the allegro rondo and said rondo is cut off by a recall climax of the first movement that comes out of nowhere, far too soon and far too unconvincingly. In any case, I'm positive Mahler would've adjusted the material by quite a bit had he lived to orchestrate it, despite whatever deathbed claims he may have made about it being musically complete.
All that being said, you did a remarkable job given the task at hand. I just don't think it's a task anyone could pull off convincingly.
@@remomazzetti8757 yes i've found your version online, there's some things that I THINK mahler wouldn't have done, but regardless you added your unique twist and it sounds beautiful!
@@remomazzetti8757 and i've just found your revised version, that too is also great
@@remomazzetti8757 I mean, it's not lost on me most of what Mahler is trying to do in the finale. The recalls of the key schemes, textures, motifs, specific moments of previous movements. And it's almost successful. But even after over 20 listens to the whole symphony, I've yet to see anything to convince me that the whole thing isn't badly proportioned with the rondo/sonata-allegro/whatever you want to call it being completely drowned by the slow introduction and coda, nor is anything from the recall of the first movement's 'scream' onwards very convincing to me dramatically. And there simply isn't anything in Mahler's completed oeuvre that I have similar feelings about. He was generally quite keen at dramatic pacing.
Don't get me wrong, I love Mahler's 10th. The first movement is among the best things he ever wrote, and the finale is by no means bad. But I just don't accept that it would exist in the form it does had Mahler lived long enough to orchestrate it himself. I think he would've extended the allegro and possibly (slightly) reduced the coda.
Ultimately, it's a matter of taste and I don't think either of us will convince each other of the opposite. But what I can say is the claim about it being one of his most innovative finales (when the 2nd, 4th, 7th, 8th, and especially, especially the 6th's all exist) strike me as highly debatable.