Hector BERLIOZ (1803-1869)
Symphonie Fantastique [55:39]
Overture Le Carnaval Romain [9:13]
Anima Eterna Brugge/Jos Van Immerseel
rec. May 2008, Concertgebouw, Bruges
ZIG-ZAG TERRITOIRES ZZT 100101 [65:14]
Another Symphonie Fantastique recording, but one which genuinely tries
to make a difference, and largely succeeds.
Conductor Jos Van Immerseel and his Bruges-based orchestra take as their starting
point Berlioz’s innovations and experiments in instrumentation and orchestration.
Even now it is possible to appreciate the shock tactics which Berlioz employed
in his weirdly autobiographical symphony. Apart from the five-movement programmatic
content, there are the two harps, valve cornets, double timpani, divided double-basses,
ophicleides and col legno violins, not to mention the bells - more
of that later..
Accordingly, this recording emphasises the unusual sonorities employed in
the symphony within a context of ‘authentic’ performance. This leads to a
rather straight reading, without many emotional surprises. But with so many
personalised recordings on the market, this is not necessarily a bad thing.
The main problem is the slowing down of the tempo in key moments. During the
first movement (Rêveries/Passions), for example, there is a sudden slackening
of speed during the ecstatic central section. The same thing happens during
the fourth movement (Marche au Supplice), when the chaotic march to the guillotine
threatens to slow to a bit of a plod.
But there are many highlights, too. Listen out for the brisk ball movement
(Un Bal), with the tremulous harps rightly placed out in front. Then again,
there’s the exquisitely played third movement (Scène aux Champs), which sounds
like an extended pastoral symphonic poem. Here, the tempo slow-down helps
to expose Berlioz’s layers of orchestration. Make your own mind up about the
finale (Songe d’une Nuit du Sabbat). Here, Van Immerseel has opted to omit
the bells and replace them with two pianos playing in unison, octaves apart.
There is nothing odd about this – in the score Berlioz himself suggests the
replacement of bells with two or more pianos if suitable bells are unavailable.
There is certainly something ominous about the dead-sounding pianos playing
alongside the Dies irae ophicleides. The rest of the movement is a
diabolic orgy of sound – scary, but great fun.
As a filler, the recording includes a brilliant performance of the Carnaval
Romain overture. Balanced and well-rounded, it serves as a good introduction
to themes from Berlioz’s seldom-staged opera Benvenuto Cellini.
John-Pierre Joyce