The problem with completing music left “unfinished” at a composer's death is not knowing what the intentions were. That issue is at the core of a new recording by Jesus Lopez-Cobos and the Cincinnati Symphony Orchestra of Mahler's Symphony No. 10.

        At Mahler's death in 1911, only the first movement and part of the third were orchestrated in this sprawling, 75-minute work. Several musicians have attempted to create performing editions. The latest is by Remo Mazzetti Jr., who admitted before the CSO gave its American premiere last season, “No one could complete the symphony the way Mahler would have.”

NEW & NOTED

Jesus Lopez-Cobos and The Cincinnati Symphony Orchestra    Mahler Symphony No. 10 in F-Sharp Minor; Revised Performing Version (1997) by Remo Mazzetti Jr.    Telarc; 3 stars    CD $15.99; no cassette

        This new version will likely pique the curiosity of diehard Mahler buffs. But the performance is less convincing than Simon Rattle's superb interpretation of the version by scholar Deryck Cooke.

        Perhaps because of its unfamiliarity, the CSO's reading is uneven through its five movements. Mr. Lopez-Cobos treats the bleak, 22-minute Adagio with reverence, but the strings lack color and phrasing is unimaginative. The Scherzo that follows is heavy, and the ensemble suffers from less-than-polished playing in the brass.

        The orchestration of the brief “Purgatorio,” with its chortling winds, captures the Mahlerian universe with the most authenticity. Mr. Lopez-Cobos leads the second Scherzo (fourth movement) with a light touch and persuasive personality.

        The crashing drum-strokes of the finale, scored in a movie-music vein, seem to have some extra Telarc punch. The finale's romantic themes are elegantly played by CSO winds (with a memorable contribution from French hornist Robin Graham). Mr. Lopez-Cobos captures the yearning quality of this music well, and the symphony ends on a note of resignation.
       
       

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