Product Details
Binding : Audio CD
EAN : 0028945343228
Label : Universal Music Group
Number of Discs : 1
Product Group : Music
Running Time : 72minutes
UPC : 028945343228
ASIN : B000001GYM
Track Listings for
Disc-1
1. Symphonie Fantastique Op. 14: I. Reveries: Largo - Allegro agitato e appassionato assai
2. Symphonie Fantastique Op. 14: II. A Ball: Valse. Allegro non troppo
3. Symphonie Fantastique Op. 14: III. Scene In The Country: Adagio
4. Symphonie Fantastique Op. 14: IV. March To The Scaffold: Allegretto non troppo
5. Symphonie Fantastique Op. 14: V. Dream Of A Sabbath Night: Larghetto - Allegro - Dies irae - Ronde du Sabbat - Dies irae et Ronde du Sabbat ensemble
6. Symphonie Fantastique Op. 14: I. Meditation religieuse (Ce monde entier)
7. Symphonie Fantastique Op. 14: II. La Mort d'Ophelie (Aupres d'un torrent)
8. Symphonie Fantastique Op. 14: III. Marche funebre pour la derniere scene d' (Hamlet)
Customer Reviews
Simply fantastic! (2005-12-06)  Berlioz' 'Symphonie Fantastique' is a very important piece of music. In his own commentary on the piece, he comments on his use of a repeating melody, an idée fixe (fixed idea). This symphony is in many ways a symphonic poem, a new sort of idea - even the structure of the symphony, being in five movements, is an innovation. This is a symphony that tells a story - one in which a gifted artist succumbs to drugs in despair over love; many saw Berlioz' own life being presented here, and he eventually dropped the narrative designations, allowing the movement headings to stand as sufficient enlightenment to the listener. 1. Rêveries - Passions (Passions) 2. Un bal (A Ball) 3. Scène aux champs (Scene in the Country) 4. Marche au supplice (March to the Scaffold) 5. Songe d'une nuit du Sabbat (Dream of a Sabbath Night) The first movement opens with a light piece that quickly becomes the idée fixe, the recurring melody. The second movement takes a simple waltz theme that goes up and down in many ways - this is perhaps meant to symbolise the isolation of a lovestruck person at the ball. The third movement has melodies drawn in horn and oboe, with rustic and romantic influences evident here. The fourth movement is much more dramatic, with horns and rushes that are anything but pastoral, and fifth movement draws on a piece from traditional requiems, the Dies Irae, together with ideas reminiscent of church bells and a graveyard. The second major piece here, Tristia, which is a trio of pieces written at different times, later collected as a group for chorus and orchestra. The first, the Méditation religieuse was composed in Rome during 1831. It is a setting for six-part chorus and small orchestra based on a poem by Thomas Moore. It uses horn and strings at the end to good effect. The second and third pieces come from Berlioz' work with Hamlet; La mort d'Ophélie and the Marche funèbre for the final scene of Hamlet both have interesting development and intonations. The performances by the Cleveland Orchestra and Chorus, under the direction of Pierre Boulez, with chorus master Gareth Morrell, are absolutely flawless. There is a perfect energy and perfect clarity of pieces here. The tempo is grand and appropriate for each piece, and the power particularly in the end of the Symphonie Fantasique reminded me of the similar power at the end of Berlioz' 'Te Deum'. This is a disc every music lover should have.
For Experienced Berlioz Fans but not Beginners (2004-04-06)  First, this disc is worth purchasing for the rarely recorded Tristia and the fine work by the Cleveland Orchestra and Chorus. The recording sounds wonderful. A problem (if that's really the word I want) may be the conductor. Years ago Boulez made disparaging remarks about Nineteenth Century music and one wonders if deep down his negative attitude has changed much. This is an almost too fastidious interpretation of an exceptionally rich and colorful work. Often, as an alternative to traditional interpretations, the intellectual approach works well with music of this era since it tends to bring out the "classical" aspects of a piece--no exception here. But this is Berlioz the Romantic and the playing--to do the piece justice--should be emotionally charged. I'd recommend it for experienced listeners who'd like to hear what early Berlioz could sound like when he's been given four cups of coffee and walked around the block a few times. I wouldn't recommend it for beginners who should be knocked on their hinders by this amazing music. The Colin Davis recording with the Concertgebouw on Philips is a first choice by many, especially in the 24-bit remastered version. Bernstein's on EMI is memorable (Last I looked that disc included a stunning Roman Carnival Overture with Previn conducting). Bernstein, bless him, never held back on music like this. There are plenty of other good choices including personal favorites by Plasson (EMI), Markevitch (DG) and Gardiner (Philips). To then hear Boulez do what he does best try his version of Stravinsky's Symphony of Psalms with the Berlin Philharmonic on DG--you could cut glass with it. In this modern repertoire he's untouchable. I hold back a star because, all said, I really don't think this is the way this piece should be played.
Cleveland Does It Right (2002-10-11) A word of caution before I begin my review: I am a native of the Cleveland area and have grown up listening to the Cleveland Orchestra. However, I have tried my hardest to avoid any regional bias that may arise from this fact. I am currently studying to become a professional musician and hopefully my opinions will be of help. First, to put it bluntly, I think that this recording is one of the best available. Cleveland is known for its technical perfection, which this CD showcases quite nicely. In addition, the darker, mellower tonal qualities also associated with the orchestra adds, in my opinion, an air of mystique that is essential to the interpretation of the piece. The solos, also, are beautifully orchestrated and executed, many times being a blend of tonal colors as opposed to distinct sounds. In response to some comments made, while I know these are all opinions, I do wish to clarify. First, the Eb clarinet is supposed to be a very bright instrument, and it is that very instrument that plays the solo in the 5th movement. Asking an Eb clarinet to sound like a conventional clarinet is like asking a piccolo to sound like a flute. It is impossible, and unwarranted. I personally think the somewhat shrill nature of the instrument adds to the horror of the "Dream of a Sabbath Night." Also, in the fourth movement, I did not notice an excess of timpani, and I think it was necessary for recording purposes. My own personal recording of the symphony, done when I was in high school by a reputable regional orchestra, did not use as much timpani and, although the recording was made in Severance Hall, the double bass pizzicato is barely audible. I personally think the loudening of the timpani was, shall we say, a "necessary evil" in order to bring out the bouncing of the man's head as he is executed at the guillotine. I agree that perhaps the recording does not display as much nuance as is appropriate for this work; however, I would believe that, having grown up with this orchestra, the performance would have been done with much more nuance. Much of it was probably lost in the recording process, an unfortunate side-effect of our current technological abilities. Obviously all orchestras tend to cut and paste their recording for absolute "perfection," and, unfortunately, I think that nuance suffers. In the end, though, I still find myself misty-eyed when the clarinet played the idee fixe and my heart pounds in the triumphant flurry to the end of the final movement.
Doesn't quite have it... (2001-08-17)  For a long time I couldn't put my finger on why this performance really did not work in my opinion. The sound is very good, all the notes are in place, I respect Boulez as a musician and conductor and I generally like performances by the Cleveland Orchestra. I have come to the realization that it is missing the quirky rhythmic quality I associate with this symphony. Boulez really takes no chances and with this symphony that is a missed opportunity. The character is lacking and it is utterly devoid of emotion. There are a few moments of sparkle, but too few to mention. This performance, in my view, doesn't come close to Colin Davis/Concertgebouw on Philips or even Bernstein/Orchestre National de France on EMI. The filler piece by the way, Tristia, is much better on all counts but it is small consolation.
Solid Recording (2001-01-22) This recording displays the Cleveland Orchestra as it usually is: an extremely capable ensemble that plays just about every piece to perfection. But, in the case of Berlioz, the type of pinpoint precision the orchestra uses does not fully unlock the genius, beauty, and haunting effect of the Symphonie Fantastique. This is a program symphony, and the orchestra treats it as if it were absolute music. The players succeed as musicians, but with the music of Berlioz, the players forget they are on stage as actors as well.
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