Hector Berlioz

[snyprrr]

I'm looking into that military band symphony. Any thought?

Also, any thoughts on the smaller works?,... there's that Apex 2cd set of Cleopatra, etc.,...

Anything but SF and HIItaly.

[Brian]

To answer your question.

[some guy]

Interesting remarks about Davis, which I almost completely agree with.

One piece where I think even Davis is bettered is the Monteux recording of Romeo et Juliette. This I don't think has ever been bettered by anyone.

And another is the opus 14b, Lelio. For some reason Davis, agreeing with Jacques Barzun, has never recording this piece. He's recorded bits of it, but never the whole thing.

Boulez for this one, I'd say.

(Just by the way, Berlioz left instructions that the story for Symphonie fantastique only be printed if both opus 14a and b were played together on one night. Otherwise, just the movement headings. Instructions that I've seen obeyed only once, and that time, the conductor started things off by recounting the whole story from the podium. Grrrr!!!)

Otherwise, agreed about Gilliam. He has noticed that Berlioz does not tell the story straight through right enough, but he doesn't seem to have cottened to the reason for that, which is that Berlioz was writing a piece of music. And for Berlioz (even in the case of Symphonie fantastique), the music always comes first.

[karlhenning]

I'm looking into that military band symphony. Any thought?

Also, any thoughts on the smaller works?,... there's that Apex 2cd set of Cleopatra, etc.,...

Very fond of the Grande symphonie funèbre et triomphale, especially in its original wind band scoring.

La mort de Cléopâtre is lovely, as well, albeit a minor work.

[J.Z. Herrenberg]

Very fond of the Grande symphonie funèbre et triomphale, especially in its original wind band scoring.

Me too.

[Brahmsian]

Very fond of the Grande symphonie funèbre et triomphale, especially in its original wind band scoring.

I have that as well with Charles Dutoit (Orchestre symphoniquede Montreal).  However, not sure if is performed using only wind band players in this case.  I haven't listened to it in awhile and don't remember the piece too well.  I'll fix that today!   

[Lisztianwagner]

Berlioz was such a wonderful composer, one of my favourites; his music shows a high expressive power, a deep involving beauty and a great harmony between the instruments! 
I especially love his orchestral works, like the "Symphonie fantastique", "Harold en Italie" and "Roméo et Juliette"  Also the opera "La Damnation de Faust" is stunning 

Ilaria

[karlhenning]

Ilaria, have you investigated L'enfance du Christ yet?

[Lisztianwagner]

Ilaria, have you investigated L'enfance du Christ yet?

Not yet, what is it like?

[karlhenning]

Overall, quite contemplative compared to La damnation de Faust. In particular, there's an exquisite trio for two flutes and harp.

[Lisztianwagner]

Overall, quite contemplative compared to La damnation de Faust. In particular, there's an exquisite trio for two flutes and harp.

Wow, it sounds very interesting, I may look for it; any suggestion about the recordings?

Ilaria

[karlhenning]

Colin Davis is generally good; I've got this one:

[asin]B0000041K1[/asin]

I've also got an older recording with Chas Munch leading Boston forces; I do like it, but wouldn't necessarily want it to be my sole document of the piece.

One which has been recommended to me, though I haven't heard it yet, is Herreweghe/La Chapelle Royale.

[Lisztianwagner]

Colin Davis is generally good; I've got this one:

[asin]B0000041K1[/asin]

I've also got an older recording with Chas Munch leading Boston forces; I do like it, but wouldn't necessarily want it to be my sole document of the piece.

One which has been recommended to me, though I haven't heard it yet, is Herreweghe/La Chapelle Royale.

Sir Colin Davis is a very good conductor, I like his conducting style; all right, thank you so much Karl! 

Ilaria

[Karl Henning]

So the last post here was almost exactly a year ago? That ain't right . . . .

Berlioz.  Looking back on it, there were quite a few bumps in the road – which is funny to consider, now that I am so confirmed an admirer.

Firstly, my initial acquaintance with Berlioz was via band transcription.  I happened to the 'concertmaster' (in band parlance, used of the principal clarinet) when we played a transcription of the March to the Scaffold from the Symphonie fantastique.  It is such a fun piece to play, that I soon forgave even the shade of any grievance, but I must confess: when I first looked over the part, my gut reaction was "Here is the year when I get to play the clarinet solos, and all I have is these eight blinkin' notes?!"

The next year or so we also wound up playing a band transcription of the Rakóczy March (which I do not think I knew at the time is from La damnation de Faust).  So initial response was positive, of course, though (a) these short bits are unrepresentative of Berlioz's oeuvre generally, and (b) in band transcription, the image was a little misshapen.

Then, afterwards, at Wooster, of course the full Symphonie fantastique was a key work in the Music History curriculum.  But apart from the obligatory nod to Berlioz as a chap who expanded the resources of the orchestra, the composer was largely passed over in favor of spending extensive time with other composers.  Even though, in reading the text, I ran across some titles and pieces which tickled my curiosity – I didn't get around to acting upon it.

Not that Berlioz was a bullet-point in my thoughts over the next few years of schooling (he wasn't) but somehow (the wrong recording(s)? just a matter of my ears trending elsewhere? a reflection of a general academical dis-ease with the Romantics?) I slid imperceptibly into a prejudice against even the one piece I knew, the Symph. f., as (sure) of historical "interest" because of the development of the orchestra, but gawd, why need anyone listen to it?

This, at least, was largely reversed by Norrington's spiffy HIP recording, which I chanced to hear on WQXR in Rochester (I think I remember WQXR being the classical music station there) one Saturday morning.  Whether I should still be enthusiastic about the recording, I know not, but at the time, zing! the piece sounded utterly fresh and vital to my ears.

Still, I did not motivate myself to investigate any more Berlioz for a long time.  I remember seeing a poster in the lobby of the Mariinsky Theatre for a performance of Roméo et Juliette – which did not actually drive any action, but created a mental Post-It note.

A few years later, we've moved to Boston, I am browsing casually through Borders, and I see a mid-priced two-fer with Roméo et Juliette, and another with the Grande Messe des morts.  Next: impulse purchase, and my ears just drink this stuff up.  That was the start of a stepped up effort to get acquainted with as much Berlioz as I could manage, and now I am an utter fan-boy.

[North Star]

I should definitely get me some more Berlioz. I have Susan Graham's disc with Les nuits d'été, Davis & RCO Symphonie fantastique, and that's it. Unfortunately, Colin Davis's other older recordings seem to be OOP, except for a two-fer with Requiem & Symphonie. Funebre et Triomphale.
How are his LSO recordings, or any other recordings?

[Lisztianwagner]

I really appreciate Berlioz' Roméo et Juliette, Symphonie Dramatique; such poetical, beautifully thrilling music, absolutely enchanting! Colin Davis made an excellent recording with the Wiener Philharmoniker, here's the first part:

http://www.youtube.com/watch?v=WiI2CG3BGC8&feature=relmfu

[Karl Henning]

I should definitely get me some more Berlioz. I have Susan Graham's disc with Les nuits d'été, Davis & RCO Symphonie fantastique, and that's it. Unfortunately, Colin Davis's other older recordings seem to be OOP, except for a two-fer with Requiem & Symphonie. Funebre et Triomphale.

How are his LSO recordings, or any other recordings?

Hi, Karlo!

I’ve got the LSO Live editions of Les Troyens, La damnation de Faust & Béatrice et Bénédict, and like them all very well.

[North Star]

Hi, Karlo!

I've got the LSO Live editions of Les Troyens, La damnation de Faust & Béatrice et Bénédict, and like them all very well.

Thanks, Karl!

[Karl Henning]

Mmm, revisiting the big Munch/BSO Berlioz box. The Queen Mab Scherzo from the Opus 17 must perforce be in the short list of Greatest Berlioz Bits.

[Luke]

Hi, Karlo!

I've got the LSO Live editions of Les Troyens, La damnation de Faust & Béatrice et Bénédict, and like them all very well.

The LSO Romeo is my own favourite recording of the piece. As I said yesterday on another thread, I'm of Berlioz's opinion that the Scene d'amour from this work is the finest thing he ever did, and the LSO recording more than any other I've heard captures its elusive poetry, that wonderful hushed sound, pulsating with life, so atmospheric that is almost perfumed (as I said yesterday, too). In fact, the recording of that movement is my favourite thing to listen to by Berlioz, and certainly one of my desert island choices. Add to it the other sumptuous orchestral movements in this piece and you have something very fine indeed.

Those who love this piece as I do might be interested in Michael Finnissy's solo piano reworking of it, too - it's called Romeo and Juliet are Drowning, I've mentioned it on the board before, maybe even on this thread. It's worth digging up if you can.