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13 of 13 people found the following review helpful
Format:Audio CD
There are so many recordings of the Berlioz Fantastique that the best ones help to emphasise its unique qualities. One of these superb recordings is this version by Sir Colin Davis and the Concertgebouw Orchestra. Although some people might find it a little austere, Davis secures superb playing from the Concertgebouw Orchestra and keeps the momentum of the work going throughout its hour-long duration. This superb recording is now available in a superb 24-bit remastering that makes it sound fresher and more vivid than the previous CD releases.
This performance stands out because it maintains the steam throughout all the five movements, and Sir Colin Davis's tempi pushes the music along. After a rapturous reading of the opening Reveries section, he hurtles the Concertgebouw into the Passions, presenting the motto-theme of the symphony simply, yet sustaining the strands of the arguments. The Ball scene sounds suitably neurotic in his hands, and the Scene in the Country conveys a rapt sense of repose, with disturbing undercurrents towards the end. I know some people will complain about the over-austere character of the last two movements, but no, Sir Colin continues to sustain the momentum of the symphony. The March to the Scaffold may not be the most propulsive, but he certainly makes it sound grim, and conveys a suitably nightmarish and macabre effect. The finale, Dream of a Sabbath Night, is taken at a brisk clip and maintains the adreanaline to the end of the work, capping a scintillating performance of this groundbreaking symphony.
In short, I think this is a self-recommending performance of the Fantastique that probably faces up to the competition today. Yes I know that Sir Colin's 2000 LSO Live version presents some stiff competition, but this superb studio recording has its own merits and can hold its own.
This performance stands out because it maintains the steam throughout all the five movements, and Sir Colin Davis's tempi pushes the music along. After a rapturous reading of the opening Reveries section, he hurtles the Concertgebouw into the Passions, presenting the motto-theme of the symphony simply, yet sustaining the strands of the arguments. The Ball scene sounds suitably neurotic in his hands, and the Scene in the Country conveys a rapt sense of repose, with disturbing undercurrents towards the end. I know some people will complain about the over-austere character of the last two movements, but no, Sir Colin continues to sustain the momentum of the symphony. The March to the Scaffold may not be the most propulsive, but he certainly makes it sound grim, and conveys a suitably nightmarish and macabre effect. The finale, Dream of a Sabbath Night, is taken at a brisk clip and maintains the adreanaline to the end of the work, capping a scintillating performance of this groundbreaking symphony.
In short, I think this is a self-recommending performance of the Fantastique that probably faces up to the competition today. Yes I know that Sir Colin's 2000 LSO Live version presents some stiff competition, but this superb studio recording has its own merits and can hold its own.
12 of 12 people found the following review helpful
Format:Audio CD
As ridiculous as MacLeod's assertion may be, it speaks volumes about what this recording has always meant to me. Of the dozens of recordings I have of the major 'war-horses' per se (Beethoven, Brahms and Mahler symphonies, Rachmaninov concerti, Baroque sewing machine music), this is the ONLY one I'll ever want.
Recorded in 1974, the most readily apparent characteristic of this reading is its momentum. Davis doesn't allow the orchestra to rest for a moment, creating tension whenever and where ever necessary. So many performances of 'Fantastique' lack the simple inertia to keep this score alive and the Dutch respond to Davis magically. The first movement, difficult to convey because of the orchestration parrying between sparse and complex, is performed with such ease and color; I simply have not heard a better first movement anywhere.
The second movement waltz, 'At the Ball', is absolutely gorgeous, especially with the added cornet. Anytime I hear this waltz without the cornet part, I'm ready to call the guilty conductor and ask him why he left it out. It simply cannot go without. Again the Concertgebouw performs this movement with such life and joy it dances off the disc!
The third movement is simply amazing. The english horn solo at the beginning and end (the shepherd's pipe) of the movement is forlorn, impassioned, lonely, it is what typifies a benchmark reading for this piece. The Berlioz bass drum at the end is perfect for the coming storm. In general, the Concertgebouw bass drum for this recording is right on. The depth, the bass, the power, it's perfect and perfectly played.
One of the better moments of the CD, the March to the Scaffold, is strictly paced here but the orchestra accentuates throughout and conveys a truly sinister scene. Listen to the bassoons and how they pierce the Concertgebouw acoustic like no other. Marvelous!
The last movement is the best Witch's Sabbath I know; the creepy beginning leading up to the ensuing Dies Irae is only just the beginning. The bells used in this recording I have yet to hear anywhere since and never on any disc before. They set the stage for some of the most frenzied and expertly played Berlioz in recorded history (I'm dead serious about this). The low brass Dies Irae is striking and never lets up. The prickly dance that interrupts the Dies shows us a level of execution the woodwinds of very few orchestras ever demonstrated. The sextuplets that lead up to the main fugue are incredible and their reaffirmation at the ending really make a statement about the greatness of this offering.
This recording is unparalleled. Because I love this music so much and Davis found the perfect orchestra for this recording session, I have not yet found a reason to buy another. It IS a benchmark for this work; it is an incontestable addition to anyone's music library.
Recorded in 1974, the most readily apparent characteristic of this reading is its momentum. Davis doesn't allow the orchestra to rest for a moment, creating tension whenever and where ever necessary. So many performances of 'Fantastique' lack the simple inertia to keep this score alive and the Dutch respond to Davis magically. The first movement, difficult to convey because of the orchestration parrying between sparse and complex, is performed with such ease and color; I simply have not heard a better first movement anywhere.
The second movement waltz, 'At the Ball', is absolutely gorgeous, especially with the added cornet. Anytime I hear this waltz without the cornet part, I'm ready to call the guilty conductor and ask him why he left it out. It simply cannot go without. Again the Concertgebouw performs this movement with such life and joy it dances off the disc!
The third movement is simply amazing. The english horn solo at the beginning and end (the shepherd's pipe) of the movement is forlorn, impassioned, lonely, it is what typifies a benchmark reading for this piece. The Berlioz bass drum at the end is perfect for the coming storm. In general, the Concertgebouw bass drum for this recording is right on. The depth, the bass, the power, it's perfect and perfectly played.
One of the better moments of the CD, the March to the Scaffold, is strictly paced here but the orchestra accentuates throughout and conveys a truly sinister scene. Listen to the bassoons and how they pierce the Concertgebouw acoustic like no other. Marvelous!
The last movement is the best Witch's Sabbath I know; the creepy beginning leading up to the ensuing Dies Irae is only just the beginning. The bells used in this recording I have yet to hear anywhere since and never on any disc before. They set the stage for some of the most frenzied and expertly played Berlioz in recorded history (I'm dead serious about this). The low brass Dies Irae is striking and never lets up. The prickly dance that interrupts the Dies shows us a level of execution the woodwinds of very few orchestras ever demonstrated. The sextuplets that lead up to the main fugue are incredible and their reaffirmation at the ending really make a statement about the greatness of this offering.
This recording is unparalleled. Because I love this music so much and Davis found the perfect orchestra for this recording session, I have not yet found a reason to buy another. It IS a benchmark for this work; it is an incontestable addition to anyone's music library.
5 of 5 people found the following review helpful
Format:Audio CD
The performance is Excellent!!!
The recording is very-very good, but the total volume of the recording, was a little bit lower than usual, CDs have....
It varies of course from a Mastering studio to another mastering studio.... what settings the Mastering engineer selects.
4 STARS only, because of the lower volume of the Recording.....
Otherwise.... EXCELLENT PERFORMANCE + TRANSPARENT & DETAIL RECORDING!!!
The recording is very-very good, but the total volume of the recording, was a little bit lower than usual, CDs have....
It varies of course from a Mastering studio to another mastering studio.... what settings the Mastering engineer selects.
4 STARS only, because of the lower volume of the Recording.....
Otherwise.... EXCELLENT PERFORMANCE + TRANSPARENT & DETAIL RECORDING!!!
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