Hector Berlioz

[Karl Henning]

The proof, if you like, of the powers of his toolbox; he applied himself to a work, of a tone utterly different to his prior works. And the result is pure gold.

[Karl Henning]

The Te Deum....the Te Deum.....don't leave it out. Although not across such a vast landscape as the Reqiem it has a wonderful sweep to it and is packed with memorable melody. The choir gets to sing up a storm.

Mike

Now:



A new arrival. First listen. Absolutely gorgeous.

And, just to tie things together, on the recording I have of the Te Deu it is the Voices of Ascension who sing, and it is Dennis Keene who conducts.

[Mirror Image]

And, just to tie things together, on the recording I have of the Te Deu it is the Voices of Ascension who sing, and it is Dennis Keene who conducts.

I was quite impressed with this group, Voices of Ascension. I still prefer Matthew Best's Durufle Requiem performance though. There's something that sounds so effortless about that performance.

[Karl Henning]

First of all, we try to play the score (of course with all its repeats). Since it is is immensely detailed and the work of a genius, it does not seem necessary to add all sorts of extra speed changes or to alter those that Berlioz prescribes. It was Wagner who began the fashion for that potentially indulgent sort of performance which is still frequently heard today.  Berlioz had a much more classical approach.  Of Wagner's conducting he commented: "I cannot find the tempo." That "tempo" Berlioz prescribes for every movement, just as Beethoven had done. His suggested speeds show that the opening of the Symphony is not exaggeratedly slow, but naive and natural like the youthful song from which it came; that the "slow" movement is just as un-slow as all classical symphony Adagios; that the March is a real march, not a mad dash; and that the last movement is held quite steady as an orgiastic dance until the last few bars.

From liner notes to the 1989 CD of the Symphonie fantastique.

[TheGSMoeller]

From liner notes to the 1989 CD of the Symphonie fantastique.

And that's exactly what I hear, especially with the final bars, that part feels rightfully rushed. It's a great performance.

Just posted this in "purchased today" thread, thought I would share it here where it probably belongs.

Norrington's is rushed? Proof that Sante-Fe Listener is out his element, with even putting these listed times aside any ear could detect that the tempi is no where near rushed. I enjoy Norrington's quite a bit (in fact I enjoy most of his Berlioz) and I've become quite fond of the smaller, chamber-sized performances of these works.
Two others I own are Minkowski"s hybrid "live" recording with Les Musiciens du Louvre winds with the Mahler Chamber Orchestraand the newly released Ticciati/Scottish Chamber Orchestra. The Minkowski is fun, vibrant and rapid with glorious sound from the combined group. Ticciati's is a bit more subdued but lovely playing from the band, plus in very good SACD

[Sergeant Rock]

From liner notes to the 1989 CD of the Symphonie fantastique.

Karl, I read those liner notes too a few days ago and, for once, agree completely with Norrington's reasoning (I enjoy his performances of almost anything--from Haydn to Mahler--even when I disagree, sometimes vehemently, with his reasoning). I love especially "that the March is a real march, not a mad dash"--which applies equally to his controversial march in the LCP Beethoven Ninth. He's the only conductor who gets it right...well, the only conductor who I think gets it right   

Sarge

[Sergeant Rock]

There is a contest on the Cleveland Orchestra Facebook page. Tickets can be won (I can't take advantage of it but I know friends who could). Does anyone know the answer?


"Ticket Trivia! - What famous movie used an excerpt from Symphonie Fantastique's fifth movement?"


Sarge

[TheGSMoeller]

There is a contest on the Cleveland Orchestra Facebook page. Tickets can be won (I can't take advantage of it but I know friends who could). Does anyone know the answer?


"Ticket Trivia! - What famous movie used an excerpt from Symphonie Fantastique's fifth movement?"


Sarge

The Shining?

[TheGSMoeller]

There is a contest on the Cleveland Orchestra Facebook page. Tickets can be won (I can't take advantage of it but I know friends who could). Does anyone know the answer?


"Ticket Trivia! - What famous movie used an excerpt from Symphonie Fantastique's fifth movement?"


Sarge

Sleeping with the Enemy?

[Sergeant Rock]

The Shining?

I googled several sources but none listed Berlioz in the soundtrack...but maybe it didn't make it onto the CD soundtrack?

Sarge

[Sergeant Rock]

Sleeping with the Enemy?

That's it 

Sarge

[TheGSMoeller]

I googled several sources but none listed Berlioz in the soundtrack.

Sarge

I think it used the dies irae chant in the beginning, not necessarily from fantastique, was the first thing that came to mind. 

[Sergeant Rock]

I think it used the dies irae chant in the beginning, not necessarily from fantastique, was the first thing that came to mind.

Someone posted the "Shining Theme" on youtube. I listened for a few moments, thinking it might break into the Berlioz version but it didn't. So I think the correct answer is Sleeping with the Enemy. Thanks for your help. I'll pass on the info.

Sarge

[knight66]

From liner notes to the 1989 CD of the Symphonie fantastique.

That Norrington performance pulled the wax from my ears. I thought it wonderfully refreshing. But I don't think it is the only way of going about it.

Mike

[Mirror Image]

There are many great accounts of Symphonie Fantastique on record, but I'm quite impressed with this recording with Janowski:



It's reaching near the end of this performance and it gets my vote for one of the better performances of this symphony I've heard. This is definitely a feather in PentaTone's cap I think. Janowski is no stranger to French music and leads the Pittsburgh Symphony Orchestra in a majestic reading.

Recordings I'm comparing Janowski with that I've heard and own: Muti/Philadelphia, Munch/BSO, Davis/RCO, Davis/VPO, MTT/SFSO, and Boulez/Cleveland.

[Brian]

John, you've inspired me to revisit the Janowski CD. Note though, I listened on NML and over really crappy office headphones while doing work, so this is not a really careful listen.

First three movements: outstanding; just a little inflexible in the slow movement but enjoyable - I'd definitely say these are first-rate
March: slightly reticent brass, sort of a subtle connoisseurial reading rather than wham-bam craziness
Finale: gaah I don't like the chimes. The rondo initially seems like it might be staid but thankfully it's not - a very enjoyable whirlwind and a good ending. Even through my crappy headphones I can tell the sound is excellent, especially capturing the timpani and bass drum.

Overall I'd say this has a chance to make my top 5. I still need a Davis (!), but my favorite is currently Lenny/NYPO. Also up there: Mitropoulos, Muti.

[Mirror Image]

John, you've inspired me to revisit the Janowski CD. Note though, I listened on NML and over really crappy office headphones while doing work, so this is not a really careful listen.

First three movements: outstanding; just a little inflexible in the slow movement but enjoyable - I'd definitely say these are first-rate
March: slightly reticent brass, sort of a subtle connoisseurial reading rather than wham-bam craziness
Finale: gaah I don't like the chimes. The rondo initially seems like it might be staid but thankfully it's not - a very enjoyable whirlwind and a good ending. Even through my crappy headphones I can tell the sound is excellent, especially capturing the timpani and bass drum.

Overall I'd say this has a chance to make my top 5. I still need a Davis (!), but my favorite is currently Lenny/NYPO. Also up there: Mitropoulos, Muti.

Cool, Brian. I'm glad you enjoyed it.

[Scarpia]

I don't know if my experience is at all typical, but for some reason, modern, musically and technically immaculate recordings of Berlioz leave me feeling quite bored.  I find myself having a lot more enthusiasm for the music of Berlioz when listening to some of the older recorded performances from the French tradition.  A perfect example is a recording of Le Corsaire by Albert Wolff conducting l'Orchestre de la Societe des Concerts du Conservatoire de Paris.  This is a mono recording from 1956, released by Decca/London as LL-1297.  I've never seen a release on CD (although a few other Wolff recordings from the same era have appeared).  There is a wonderful panache and energy to this performance.



Here is a bare-bones transfer of the LP (complete with authentic pops, clicks and whatnot).

http://www.mediafire.com/download.php?hiht2tdugnunhqx

[Karl Henning]

Found a Used - Like New copy of Benvenuto Cellini for $7. Ka-ching!

[Dancing Divertimentian]

Found a Used - Like New copy of Benvenuto Cellini for $7. Ka-ching!

Fantastic, Karl! To me this piece heads the list of criminally underrated works. Which recording is it?