Cinncinati Mahler 10 "Wrong Note"

[ssotimpre]

Several years ago when this Telarc recoding came out I remember have a short conversation with Barry Guerrero about a wrong note in the recording.  We didn't talk about the specifics but when I listened now this is what I hear:  In measure 53 of the last movement in a passage that Cooke gives to the flute, this version has a trumpet. See below.

[James Meckley]

ssotimpre,

My Cooke score shows three notes for the flute in measure 53 of the Finale: G-natural (eighth note), A-flat (eighth note), and F-natural (dotted half note). In the Telarc recording of Mazzetti II, I hear—again in concert pitch—G-natural, A-natural, and F-natural, meaning the second note is being played a half-step too high. Is this what you're hearing?

In addition, I hear a very-poorly-executed splice right at the barline between measures 52 and 53. To solve other problems, they may have had to go to an alternate take that hadn't been fully vetted.

I checked the Slatkin recording of Mazzetti I; it doesn't show this anomaly and is in agreement with the Cooke score.

James

[ssotimpre]

Your right it's the A natural that's the problem. Thanks

[barry guerrero]

.    .    .   "meaning the second note is being played a half-step too high. Is this what you're hearing?"

That's what I'm hearing also: a half-step too high, and it really sticks out. 

In addition, I just don't find the revised Mazzetti to be in any way superior to his first version. On the whole, I really prefer the Slatkin recording. What we really need, though, is another and better recording of the Samale/Mazzuca version.

[James Meckley]

For those without access to the score who might be interested in locating this mistake, measure 53 begins at 4:19 into Track 5 of the Jesús López-Cobos/Cincinnati Symphony recording of Mahler 10 (Telarc CD-80565).

James

[barry guerrero]

In typical record industry fashion, Telarc, at first, tried to pass it off as an issue having to do with the differences in versions. Then they admitted that it was a flub, but - of course - didn't do anything about it. Oh well.

[waderice]

I personally don't see this as the fault of the record label.  It's the fault of the conductor.  If he KNOWS his stuff, he would catch this and insist that the wrong note be corrected while the recording sessions were going on; otherwise he wouldn't consent to (or sign off) the release of the recording.   

Wade

P.S. - This makes me thankful that I don't have this recording in my collection.   

[barry guerrero]

Let's compromise and say that it's the fault of both parties.

This is a good example why I insist that the proper evaluation of Mahler recordings should be treated as a 'gesamtkunstwerk' of conductor, orchestra and record company (recording engineers and producer).