Hector Berlioz

[71 dB]

I haven't explored Berlioz much but Tristia, Op. 18  and  L'Enfance du Christ, Op. 25 are works I like. I have Gardiner/Philips of the first and Casadesus/Naxos of the second.

[North Star]

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.

Thanks, Luke. I agree, the Scene d'amour is very beautiful, and atmospheric. Can't wait to get my hands to the recording now!
The Finnissy reworking looks interesting, but the only things I can find of it in the 'net are some lists of his compositions, a book with the score, and plenty of posts by you - including a page in the Mystery Score thread.  (not related to the end of the sentence)

[madaboutmahler]

Listening to the Symphonie Fantastique currently makes me want to listen to some more of his music, as I know rather little of his other works.... I am particularly keen to listen to the Grande Messe des morts (the percussion scoring sounds so thrilling!), and the Romeo and Juliet symphony.

[Mirror Image]

Listening to the Symphonie Fantastique currently makes me want to listen to some more of his music, as I know rather little of his other works.... I am particularly keen to listen to the Grande Messe des morts (the percussion scoring sounds so thrilling!), and the Romeo and Juliet symphony.

Don't forget about Harold in Italy, La Damnation de Faust, Symphonie funebre et triomphale, Tristia, L'Enfance du Christ, and all of the overtures. Berlioz was one of the first composers I got into and when I heard Davis' recording of the Requiem this was the only indication I needed that Berlioz was not only ahead of his time but he was also a brilliant, original composer.

[TheGSMoeller]

Don't forget about Harold in Italy, La Damnation de Faust, Symphonie funebre et triomphale, Tristia, L'Enfance du Christ, and all of the overtures. Berlioz was one of the first composers I got into and when I heard Davis' recording of the Requiem this was the only indication I needed that Berlioz was not only ahead of his time but he was also a brilliant, original composer.

Not a dull piece among those listed. Get them all, Daniel. I would say go to Harold in Italy next, then begin branching out to some choral works (Requiem, Christ and Faust), which might be the best candidates to receive the "masterpiece" label for Berlioz.

[some guy]

While we're in the not forgetting mode, let's also do some not forgetting with the operas, Benvenuto Cellini, in many ways the most advanced, most colorful, most memorable (there's irony for ya) of his scores. I wasn't much taken with Nelson's traversal of this, even though Nelson has seemed ideal for Berlioz before--like with Beatrice et Benedict. So Davis it is. (Truly. Once I caught on to Berlioz, I became the biggest Berlioz nut I've ever met. And Benvenuto Cellini is my favorite of all in a very crowded field. Like everything he wrote except for Reverie et caprice and some tepid choral things.)

For Les Troyens it's the Davis as well. The first one. I was appalled at his newest Les Troyens. I found it to be brutal and clumsy and rough. (I've only heard it once, though, while working an evening shift at the now defunct Classical Millenium. The store is not a good place to listen to music.)

One thing I really like a lot, however, is his most recent recording of L'enfance du Christ. That really rocked me back on my heels. And not a singer in the bunch I'd ever heard of. The choir, either. (The LSO, yeah. I'd heard of that group.... ) It's my favorite L'enfance now.

I'd like to hear other reactions to Herreweghe's. Couple of things Herreweghe has done outside his zone recently. L'enfance and the Stravinsky. I had the same reaction to both. But I'd like to hear other reactions before I give mine. Is that so wrong??

[Karl Henning]

(...The store is not a good place to listen to music.)

This.

Though your recs of the earlier Les Troyens and of Benvenuto Cellini are well taken.

[Karl Henning]

I'd like to hear other reactions to Herreweghe's. Couple of things Herreweghe has done outside his zone recently. L'enfance and the Stravinsky. I had the same reaction to both. But I'd like to hear other reactions before I give mine. Is that so wrong??

Hm, I remember liking my initial listen, but time has elapsed, and I really ought to go back to it.

[Karl Henning]

I've only 'spot-listened' a couple of movements yet (the Trio, and the Ouverture to Part II, La fuite en Égypte), but it sounds lovely to me . . . .

[Karl Henning]

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.

Sold! : )

[madaboutmahler]

Don't forget about Harold in Italy, La Damnation de Faust, Symphonie funebre et triomphale, Tristia, L'Enfance du Christ, and all of the overtures. Berlioz was one of the first composers I got into and when I heard Davis' recording of the Requiem this was the only indication I needed that Berlioz was not only ahead of his time but he was also a brilliant, original composer.

Not a dull piece among those listed. Get them all, Daniel. I would say go to Harold in Italy next, then begin branching out to some choral works (Requiem, Christ and Faust), which might be the best candidates to receive the "masterpiece" label for Berlioz.

Thanks for the advice, John and Greg! Found out we're doing the Roman Carnival Overture in WYO today, it's such a fun piece to play! Brilliant music!

[TheGSMoeller]

I've only 'spot-listened' a couple of movements yet (the Trio, and the Ouverture to Part II, La fuite en Égypte), but it sounds lovely to me . . . .

That opener to La fuite en Egypte has been known to delay the rest of the piece for me, I tend to hit replay on that track.

This recording with Best/Corydon has become my top choice...

[asin]B001F4YGTQ[/asin]

I also have the Cluytons and Gardiner recordings, both very good, although I do need to get the C.Davis LSO live, keep reading good stuff about it. 

[some guy]

Karl, I did have the idea that I should take the LSO Les Troyens home, like I did with the LSO L'enfance. I wonder if that used copy survived the move....

Mirror, you doubtless know that the Roman Carnival is snippets from Benvenuto Cellini.

[Mirror Image]

Mirror, you doubtless know that the Roman Carnival is snippets from Benvenuto Cellini.

I didn't know this. I haven't heard Benvenuto Cellini yet. I'm still devouring La Damnation de Faust.

[some guy]

Mmmmm, and very tasty that is, too, to be sure!

[knight66]

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

[TheGSMoeller]

.[asin]B004IXP5YG[/asin]


Beginning to consider Herreweghe over Davis/LSO Live for my 4th recording of Christ, I've been listening to samples and I'm attracted to the subtlety of this orchestra and soloists. Is anyone here familiar with this performance?

[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

As ever, Mike is right.

[Karl Henning]

.[asin]B004IXP5YG[/asin]


Beginning to consider Herreweghe over Davis/LSO Live for my 4th recording of Christ, I've been listening to samples and I'm attracted to the subtlety of this orchestra and soloists. Is anyone here familiar with this performance?

For no good reason, I am not yet familiar with this in its entirety. I visited a few numbers yesterday, and am determined to listen to the whole enchilada ... après Henningmusick, bien sûr.

[TheGSMoeller]

For no good reason, I am not yet familiar with this in its entirety. I visited a few numbers yesterday, and am determined to listen to the whole enchilada ... après Henningmusick, bien sûr.

This is the piece that really canonized Berlioz for me, I mean, I spent years listening to Fantastique, Harold, various overtures and Requiem and already considered him a personal favorite, but was hit with an unexpected and entirely new impression of Berlioz after my first listen to Christ. A very meditative and profound slice of music.