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Strona Główna Muzyka Klasyczna Berlioz Hector Berlioz - Symphonie Fantastique. Berlioz Takes A Trip (1999)

Berlioz - Symphonie Fantastique. Berlioz Takes A Trip (1999)

Niedziela, 22 Wrzesień 2019 15:45 | Wpisany przez bluesever | PDF Drukuj
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Berlioz - Symphonie Fantastique. Berlioz Takes A Trip (1999)

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Symphonie Fantastique, Op. 14 (Épisode De La Vie D'Un Artiste)
1 	I Rêveries. Passions. Largo - Allegro Agitato E Appassionato Assai (Träume. Leidenschaften) 	13:18
2 	II Un Bal. Valse. Allegro Non Troppo 	6:15
3 	III Scène Aux Champs. Adagio (Scene In The Country · Szene Auf Dem Lande) 	17:14
4 	IV Marche Au Supplice. Allegretto Non Troppo (March To The Scaffold · Gang Zum Richtplatz) 	4:49
5 	IV Songe D'Une Nuit Du Sabbat. Larghetto - Allegro (Dream Of A Sabbath Night · Traum Einer Sabbatnacht) 	9:47

"Berlioz Takes A Trip"
6 	Leonard Bernstein Explores The 'Symphonie Fantastique' With Musical Illustrations By The New York Philharmonic 	15:41

New York Philharmonic
Leonard Bernstein - conductor

Recorded at Manhattan Center, New York City, USA , tracks 1 to 5: 05-27-1963.
Recorded at Philarmonic Hall, now Avery Fisher Hall, Lincoln Center, New York City, USA, track 6: 03-05-1968.

 

This 1963 Symphonie fantastique is actually the same as Bernstein’s Royal Edition performance (though in significantly finer sound), which claims to be his marginally tamer 1968 remake. In fact, this is the most drugged-out performance of the work that you will ever hear, and it’s accompanied by a delightful spoken essay (essentially word for word the same as appears in the “Young People’s Concerts”) that explores the highlights of the composer’s opium-induced vision. It’s easy to see why Bernstein, in a more reflective moment, might have found some of this performance’s rougher edges a bit alarming (Just listen to those tubas in the finale. Incredible!). On the other hand, in these days of authentic instruments, a little edge to the sound isn’t considered such a bad thing, and all of the squeaks, grunts, and thuds that Bernstein elicits from his players have ample justification in Berlioz’s revolutionary score. This truly is a great performance, one that goes straight to the top of the list alongside Charles Munch’s classic Boston version (RCA). ---David Hurwitz, classicstoday.com

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