The unfinished, in art in general, is a real technique, which has its roots in an aesthetic posture that seeks a precise effect to enhance some specific aspects of the artistic product. This is how Michelangelo worked, for example, in The Bearded Slave or in the Pietà Rondanini, works that admittedly do not seem to emerge completely from the block of stone that gives them life, but merge into a whole, creating a mixture of body, technique and soul. But in some cases, when the unfinished works meet the genius of other great artists, the unfinished can be realized in its completeness. This is the case of Mahler's Tenth Symphony, reworked by Yoel Gamzou along the lines of the successes of the efforts of illustrious predecessors such as Deryck Cooke and Rudolf Barshai, and which comes to life for the first time ever on the stage of the Auditorium di Milano, right under his skilful baton.